EMR7

Electronic Music Review
,
. "
No.7 July 1968
oes n
KENNETH GABURO
Music for Voices,
Instruments &
Electronic Sounds
Antiphony III:
(Pearl-white moments)
Exit Music I:
The Wasting of Lucrecetzia
Antiphony IV:
(Poised)
Exit Music II:
Fat Millie's Lament
The New Music
Choral Ensemble &
Members of the
University of Illinois
Contemporary
Chamber Players
Kenneth Gaburo, conductor
H-71199
ec ronc usc
on onesuc
ANDREW RUDIN
Tragoedia
a composition in
4 movements for
electronic-music
synthesizer
Another in
Nonesuch Records'
continuing
commission series
of original
musical works
created especially
forthe Lp
record medium
H-71198
Suggesled lisl price $2.50
For complete catalogue, write
NONESUCH RECORDS
1855 Broadway, New York, N. Y. 10023
P6611 ACQUAINTANCES (7 min)
Flute, Contrabass, Piano
P6829 AMBAGES (9 min)
Flute Solo
P6826 BLIND MEN (15 min)
Mixed Voices, 3 Trp, 2 Trb,
Bass Trb, Tuba, Perc, Pi
P6616 THE EMPEROR OF ICE CREAM
(14 min)
8 Voices, Percussion, Piano,
Contrabass
P6618 EPIGRAM AND EVOLUTION
(60 min)
Piano
P6612 FANTASY FOR PIANIST (17 min)
Piano
P6619 FOUR ETUDES (8 min)
Flute Quartet
P6828 GATHERING (10 min)
Woodwind Quintet
P6622 GRAFFITI (9 min)
3 (2 Picc) 333,4331, Timp,
Perc, 2 Hps, Pi, Str
P682? MASKS (25 min)
8-pt Mixed Chorus,
2 (Pice) 22 (Eb) 2, 4221,
Timp, Perc, Pi (2), Str
P6620 MOSAIC (12 min)
Flute and Piano
P6661 QUICK ARE THE MOUTHS
OF EARTH (18 min)
3 Fl (Picc), 3 Vc, Ob, Trp,
Trb, Bass Trb, Pet'c (2), Pi
P6623 STRING QUARTET NO, 2 (14 min)
String Quartet
P6624 WEDGE (70 min)
2 Flutes (Piccolo), 2 Trumpets,
2 Trombones, Tuba, Percussi011,
Contrabass, Piano
C. F. PETERS CORPORATION
373 PARK AVENUE SOUTH NEW YORK, N. Y.10016
Contents
EMscope 6
Roger Reynolds
It(')s Time
Wal ter Carlos
A Variable Speed Tape Drive 18
Paul Strok Adler
Some Problems and Prospects 21
in Copyrighting Electronic Music
Robert Erickson
Tube Filters 27
Tod Dockstader, Tristram Cary, Walter Carlos, Edward Tatnall Canby, Jonathan Weiss
Reviews 30
Contributors 45
MEMBERSHIP/SUBSCRIPTION FORM 47
Index of Advertisers Limelight Records 48
Moorman/Paik Legal Fund 45
Nonesu ch Re cords Cover II, 11
4
Acoustic Research ............. 7 .
Ampex .. , ............ '" '" . '" '" . '" . '" '" '" .. '" . 5
Associated Music Publishers ... 44
C.F. Peters .. "' ...................... 3
Dolby Laboratories ........... 1
E I e ctrodyne ............ 46
Gotham Audio ............... 9
Scully ...... Cover III
See/Hear Productions .... 6
Theodore Presser . .47
University of Toronto Press . 8
Wiegand Audio ................. .. .. 10
ELECTRONIC MUSIC REVIEW
5
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COURSES
Villa Schifanoia announces a general orientation course in electronic
music, commencing with the academic year 1968-69. The course will be
conducted by Pietro Grossi, and will be open to interested persons of
all disciplines. A computer will be available. Further information is
available from the Dean of the School of Music, Villa Schifanoia, via
Boccaccio 123, 50133 Florence, Italy.
The Institute for New Music of the Rheinische Musikschule will hold a
composers' course October 3 - December 21. The lecturer in electronic
music will be David Johnson. Further information is available from
Rheinische Musikschule, 5 Koln-Ehrenfeld, Vogelsangerstrasse 28-32,
Germany.
RECENT PUBLICATIONS
Bois, Mario. Iannis Xenakis. 1968. Boosey and Hawkes, 30 West 57
Street, New York City 10019. Softbound, $1.50.
special SEE/HEAR productions
spring '68
Awake In Th Red Desert
a recorded book by bill bissett
64 pages and a 12 inch 33 1/3
stereo record
$6.00
fall '68
Oh See Can You Say
a recorded book by jim brown
60 pages and a 12 inch 33 1/3
stereo record
$6.00
6
see/hear productions
SEE/HEAR
See Hear
Sea Hear
See Here
Sea Here
Sea Hair
SeerHear
Seeeeear
Seeeeeer
Seeeeeee
Seeeeeee
Seeeeeer
Seeeeear
SeerHear
See Hair
See Hear
Sea Hear
Sea Here
Sea Hair
5619 Dunbar Street, Vancouver 13, B.C., Canada
a recorded magazine of contemporary sound arts
-a unique quarterly sound magazine in the form
of a record with connected visual materials
-will include poetry, music, sound poetry, and
electronic music
-emphasis on the contemporary and experimental
-visuals may be open or graphic scores, printed
poems, poetry "concrete", drawings, art work,
slides, etc., and explanatory notes
-each recording will be 12",331/3 LP stereo
with international contribution and distribution
-introducing special SEE/HEAR productions such
as records, recorded books, tours, and performances
The first issue, SEE/HEAR NO.1,
September, 1968.
Single issues ........ . ...... . $4.00
Outside N. America .......... $5.00
Yearly, four issues .. ... .. .. . $15.00
Outside N. America .. .. .... . . -$18.00
ED SOREL
ON INNOVATION
Mozart, perhaps in jest, once suggested that the clicking
of the balls as he played billiards, gave him rhythmic
ideas. On another occasion, Mozart wrote to a friend
that he could no more account for the style of his music
than he could explain the shape of his nose. Spoken in
a television interview today, or published in the popular
press, such statements by contemporary experimentalists
inflame the philistines to whom the accidental and irra-
tional appear to be the end of art, instead of its beginning.
Even in the humdrum, rather constrained and logical
world of physics and acoustics, those to whom the old
way is the only true way are often startled by a novel
integration of familiar principles. We bring this up
because AR was responsible for such an integration in
1955- the first acoustic suspension loudspeaker system-
and everyone associated with sound and music repro-
duction ought to know about it. By using the air inside
the speaker cabinet as a spring to keep the speaker cone
centered, instead of using the edge of the speaker itself,
as everybody else did, AR was able to reduce distortion,
extend bass reproduction, and, incidentally, accomplish
this in a cabinet so small that many people would not
believe it until they had heard it.
Write for a catalog.
ACOUSTIC RESEARCH, INC.
24 Thorndike Street
Cambridge, Mass. 02141
Music Educators Journal (special issue on electronic music, with de-
monstration record). Vol. 55, No.3, November 1968. Music Educators
National Conference, NEA Center, 1201 Sixteenth Street N.W., Washing-
ton, D . C. 20036. 85
Musical Happening (first issue). No.1, September 1968. Arco Special-
ties, 3748 Van Ness, Dallas, Texas 75220. Subscription, 6 issues,
$1.00 (foreign, $2.00).
Pellegrino, Ronald. An Electronic Studio Manual (with tape). 1968.
Ronald Pellegrino, 35 Webster Park, Columbus, Ohio 43214. Softbound,
$8.50, + tape, $3.50.
Pierce, John R. S c i e n c e ~ Art and Communication. 1968. Clarkson N. Pot-
ter, Inc., 419 Park Avenue South, New York City 10016. Hardbound,
$6.00.
RECENT STEREO LP RECORDS
COLUMBIA MS-7176 - Karl-Birger Blomdahl (Aniara: Suite of Electronic
Int erludes), Gyorgy Ligeti (Atmospheres; Lux Aeterna) , Morton Subot-
nick (Electronic Prelude and Interludes from "2001: A Space Odyssey") .
LIMELIGHT LS-86050 [re-release of PHILIPS (Canada) PHS-600-047] - Tom
Dissevel t / Kid Bal ta n (Song of the Second Moon) .
8
A Bibliography of Electronic Music
LOWELL M. CROSS
This exhaustive bibliography includes all available citations
of books, articles, and monographs pertaining to "Musique
concrete, " "elektronische Musik," "tape music," and
"computer music" from publications in fourteen languages.
There are 1563 entries. $5.00
UNIVERSITY OF TORONTO PRESS Toronto/ Buffalo
GOTHAM EQ-lOOO Universal Equalizer
complete flexibility; band-pass &
band-reject; cut-offs; boosts; only
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GOTHAM KW-600 Linear Motion Atten-
uators; 57 steps; 85 dB loss before
cut-off; two and four gang available;
guaranteed 5 years against noise. 6- b

I
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known as Pitch & Tempo Regulator; speed
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These products were selected f rom the
GOTHAM catalog as being most directly
applicable to the Electronic MUsic
field. For further information write
for brocrnres by number and letter.

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AUDIO CORPORATION
2 WEST 46 STREET, NEW YORK, N, y" 10036 212-CO-5-4111
LIMELIGHT LS-86052 - Bengt Hambraeus (ConsteZZations II; Interferen-
ces) .
LIMELIGHT LS-86054 - Mecki Mark Men.
LIMELIGHT LS-86055 [re-release of EPIC BC-1118] - Henk Badings (Cap-
riccio for VioZin and Two Sound Tracks; EvoZutions - BaZZet Suite; Ge-
nese) I Dick Raaijmakers (Contrasts) .
NONESUCH H-7l208 - Morton Subotnick (The WiZd BuZZ) .
ORPHEUM SN-3 - Bulent Arel (EZectronic Music No.1; Fragment; Music for
a Sacred Service: PreZude and postZude) I Mario Davidovsky (Study No.
2) I Vladimir Ussachevsky (Improvisation No. 4711; Linear Contrasts; Me-
tamorphosis) .
PHILIPS (France) [number unknown] - Bayle (Espaces inhabitab-
Zes; L 'Oiseau-Chanteur; Lignes et points [1966 version]) .
TRANSATLANTIC (United Kingdom) STRA-16l - Ron Geesin (A Raise of Eye-
brows) .
VOIX DE SON MAITRE (France) CVC-2086 - Iannis Xenakis (Atrees; Morisma-
Amorisma; 080262).
, ,
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10

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In the Fall of 1967, Nonesuch launched
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onesuc

UI e 0

ec ronlc USIC
a comprehensive survey of electronic music and its creation
by Paul Beaver & Bernard L. Krause
Included are
2 stereophonic LP discs,
containing recorded examples
of electronic music and sounds;
the score to Peace Three
(a new electronic composition
presented here for the first time);
a meticulously prepared
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notes on the recordings,
an introduction to
electronic-music theory,
glossary, bibliography,
and symbolic notation.
THE NONESUCH GUIDE
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unique, fascinating, essential!
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It('}s Time
Roger Reynolds
Sounds, and recently silences, are reasonably well-understood by composers - empirically, at
least. Structure in sonority and succession is also treated with some assurance (less as it diver-
ges from well-established patterns and arithmetical supports). Time, however, is generally ig-
nored (or is it avoided?), and the result has been some unfortunately misplaced allegiances.
Typical of these is the idea of symmetry or proportion in temporal structure. Whether in clas-
sical molds or predetermined, contemporary asymmetries, this idea depends upon the listener's
ability to accurately estimate long periods of time, and to retain these estimates. But results
of studies in time perception confirm intuitive suspicions of such architectural borrowings. A
"symmetrical" musical structure is as unrelated to the experience of architectural symmetry as
the wing in fl ight is to a "west wing" in function.
A perception, as opposed to a memory or an expectation, is an experience which seems totally
in the present (no part of it seems "past" before the whole is finished). Its duration is normally
2 or 3 seconds, but in the case of small groups of stimuli it may extend to as much as 5 seconds,
including, perhaps, 25 - 30 items. The most accurate estimation of time intervals themselves
occurs at about 0.75 seconds, though, generally, short intervals are overestimated and long
intervals underestimated. When one deals with numbers of minutes instead of seconds, errors
become very large . The actua I experience of time, then, is direct and accurate only in the
very short term. Subjective judgments about it are affected by so many factors that generali-
zations can, at th is time, do no more than indi cate tendencies .
For example: is the duration to be judged fi lied (a continuous sound or homogeneous collection
of sounds) or ~ (its extremes marked by sol itary impulses); is the judgment made by verbal
report, by reproduction (where the listener activates what he believes to be an identical inter-
val), or comparison (signal A is or is not equal to signa! B); if the interval is empty, are the
limits marked by events in the same sense modality (two sounds) or by different ones (one visual
and one aural) (Sounds from different sense modalities are difficult to integrate for judgment.); is
the signal heard against a background of noise and reproduced against a background of silence,
or vice versa? All the above influences are further complicated by the effects of set (formed
by the listener's experience, expectations, etc.) and by the voluntary or involuntary exercise
of attention . (If two signals arrive at the brain simultaneously, the one which is attended to
will appear to precede the other.) Short-term memory also plays an important part in our ex-
perience of time. But memories are vivid and accurate in direct relation to when (how soon)
and in what order they are called upon.
This array of influences hasn't crippled listening in the past, and it might seem unimportant if
we weren't interested in enlarging the range of musical experience. The idea of temporal pro-
portions is symptomatic of vague thinking about time on the part of musicians. Large-scale pe-
riods can only be judged by referring to some interna I or external chronometer. Heartbeat and
breath rate can give clues but they are at best unreliable, varying according to one 's state of
health and emotion. But even when we determine relationships between periods of time by means
of some "clock", the objective knowledge probably wi II not coincide with our experience of
the time duration involved. In fact, some psychologists have suggested that the awareness of
12 ELECTRONIC MUSIC REVIEW
time arises only from dissatisfaction with one's situation. If so, the better our estimations, the
less involved we must have been during the experience (not a favorable relationship from a com-
poser's standpoint). All experimenters draw attention to the fundamental differences between
durations judged as unitary events and those judged with the aid of some "clock". We are fre-
quently surprised by the evidence of objective time measurements, but although such information
affects our evaluations after the fact, it does not change the nature of our experience in time.
Pulse, felt through regular recurrence of accentor seen as a conductor's gestures ora performer's
actions, serves as a clock function. Identifiable elements (tunes, timbres, and rhythms) following
famil iar sequences also help to reinforce the artificial, countable symmetries in traditional forms;
but a truly proportional experience in time is an almost hopelessly complex goal. If achieved,
it would certainly bear no necessary relationship to numbers of bars or to seconds as measured by
objective clocks. A structure which can be defended only in terms of some objectively intended
symmetry or proportional ity in time is probably quite meaningless.
Though each separate musical experience will have some set of temporal relationships (probably
different for each listener at each hearing), one cannot imagine how they could be either very
precise or dependable (reproducible). Of course one can skirt this issue by dealing in static or
very gradually evolving pieces where the notion of proportionality is not relevant. Such ob-
jectively unitary experiences provide a quite different variety of stimulation, though the in-
evitable lapses or shifts in attention impose an intricate and indeterminate set of subj ective con-
trasts (hence, proportions).
Though for practical purposes it requires very little time to absorb the basic spatial relationships
and overall form of a stationary object, of a painting, the eyes perform hundreds of scanning
motions in collecting the impulses from which the brain constructs a "picture". Music which
stands deliberately still can do so either in the sense of striving to remain constant, as does La
Monte Young's The Tortoise, His Dreams and Journeys, presenting hours of a carefully retained,
uninterrupted sonority, or by mass textures such as the "timed mixtures'! that I have used, where
detail is indeterminate but where there are no overall trends. When music abandons its discur-
sive character, the ear can "scan" in the same way that the eye scans a visual texture. If one
does stop the flow, the stimulus should be complex, varied, or beguiling enough to stimulate and
reward a search. There is a physiological basis for the requirement of variety, and this will be
elaborated below.
* * *
Europeans and North Americans have strong ideas about time. To them it is a commodity that
can be owned, bought, borrowed, stolen, and wasted. But in Japan, for example, it cannot
be possessed. There is no way to say "my time", and the activity of work seems to be its own
end rather than a means toward conserving or making use of "one's time". Without going into
the sociological variations of outlooks on time, it is clear that they are many, and radically in-
fluential. On a more specific level, there are things to be said about individual physiological
capacities.
Biological systems respond primarily to change. The ear quickly detects any change in auditory
stimulation (including cessations) and routinely ignores the sameness of monotonous signals. Dur-
ing experiments with a totally uniform visual field, a third of the subjects experienced a com-
plete cessation of visual experience: not a "blackout", but a void, an absence. The experi-
JULY 1968
13
menter conjectured that perceptual mechanisms have evolved to cope with a differentiated field,
and when they meet with uniformity there may be a temporary breakdown.
Another instance of the remarkable way in which receptors respond to extreme situations emerged
from studies on visual fatigue. By attaching frames containing basic geometric figures directly
to the surface of the eye, it is possible to study the effects of visual fixation. As expected, fig-
ures tend to fade after prolonged observation when the eye is unable to scan, and thereby to en-
gage new receptor cells. (A similar phenomenon will later be observed in the case of the ear.)
Of particular interest was the fact that portions of the visual figures fade in a precise and orderly
manner, so that what remains is still definite, and usually a strong formal configuration. There
was no immediate explanation as to why the fading should be complete and selective rather than
involving blurs or capricious areas of the figures.
The mechanism of the ear is sensitive to intensity, frequency, and time, and is susceptible to
several varieties of fatigue. It would be interesting to know in what way aural sensations vary
with prolonged exposure, and whether one experiences orderly sorts of fading - fadings wh ich
remove complete segments of the total sensation, leaving partial but independently sufficient
impressions.
Change is especially important in auditory experience. Those who lose their hearing relatively
late in life complain not only of the lack of communication but that life seems to have lost its
"ongoing" character. Experiment has illuminated this by showing that psychological time runs
at quite different rates during noise than it does in relative silence. The comparatively high
level of stimulation during noise apparently speeds the flow of subjective time, and the subjec-
tive reproduction in si lence of a duration heard in noise will be considerably longer, objective-
Iy, than the original. This effect, produced by experimenters with white noise, would certainly
change if a patterned sound were used, but auditory background apparently acts in some way as
a calibrating monitor for our internal clocks. The same, incidentally, is true of temperature.
Time runs subjectively faster at higher body temperatures, as, for example, during illness.
Even when the factors already mentioned are kept relatively constant, there is marked variation
in the values of various thresholds (what level of sound is just audible, what is painfully loud,
how long should a sound be to be heard as having a duration, etc.) from person to person and
within the performance of individuals from day to day, hour to hour, and even within the span
of a few seconds. If a group of five identi cal sounds with a loudness level close to the thresh-
old of audibility is repeated several times in quick succession (taking, in all, 5 seconds), one
may hear all, or some, or none at each trial. Tones of high frequency will tend to become sub-
jectively softer as their duration extends, and may even disappear in time. Generally, it is
necessary to constantly increase the power of a sound in order to maintain a uniform subjective
loudness. These facts are relevant since our temporal judgments and the nature of our experi-
ences with time are based to a large degree on the number and spacing of the events whi ch de-
marcate or populate an interval. Of two objectively equal durations, the one which provides,
in retrospect, the larger number of meaningful memories will seem longer. If we miss some e-
vents, our impressions are necessarily altered.
Sensations of time are guided by the tensions of anticipated change: the ending, alteration, or
beginning of phenomena. In music there is usually a fabric of multiplestrands or related events,
but the ways in which their relationships are measured may not coincide. When one system of
parameters is accepted, others may become difficult to integrate or even irrational. For exam-
ple, in normal situations we can perceive pitch and loudness changes with one ear while sitting
14
motionless. If we are required to take account of left to right antiphonies, apparent or actual
movement of sounds, we must use both ears, still remaining motionless. But if the patterns of
spatial movement require us to identify up and down as we" as shifts to left and right, we must
be free to move, to change the orientation of our ears with respect to the environment. These
phenomena are due to amplitude and phase differences (at high and low frequencies, respec-
tively) resulting from the slightly different distance from the source to the right and to the left
ear.
The set of a listener about to hear a piece of music - the momentary collection of his relevant
experiences, capacities, expectations, physical conditions, and so on - may be the overriding
factor in his response, yet there is rarely more than casual attention paid to it. Traditional rit-
uals of dress, place, and decorum evolved because of the desirability of a common context (the
concert situation), but we rarely consider how complex the effects of individual variations in
set are, and almost never make attempts to influence it.
If an observer is presented briefly with an incongruity - a combination of events which his ex-
perience contradi cts - experiments have shown that there are four categories of response: dom-
inance, when clashing characteristics are altered so as to fit with one which is dominant, and
accurately reported; compromise, when none of the objective facts is correctly retained, but
a" are altered to achieve an acceptable concurrence; disruption, when the subject simply re-
jects a" facts and cannot report what happened at a"; or recognition, where, in spite of the
briefness of exposure, the objective facts are perceived and the subject reports a new (and for
him unprecedented) event. These same conditions may we" apply to aural experience.
In visual experiments, there has been speculation about whether one can respond to a symbol
that he has not consciously recognized. There is considerable difference of opinion (parti cu larly
about the practical application, "subliminal advertising ") but there is definitely a complex of
dependencies, tendencies, and interactions during the brief time span within which recognition
occurs. During this interval, characteristics which suggest undesirable items may be repressed,
while others that suggest familiar and acceptable events will be weighted to confirm judgments
in the subjectively positive direction.
One might attempt to influence set directly, supplying information about the duration of a work
before it begins, marking the moments at which particular attentiveness is required, and so on.
This seems a little crude, though there can be no doubt that acuity is much improved when one
knows when a change (an event) wi" probably occur. Our extraordinary sensitivity to nuance
in the performance of traditional music is due to the foreknowledge that massive familiarity pro-
vides. Other approaches such as lighting, disposition of seats, relative location of listeners
and sound sources have been tried tentatively, but little systematic information about their ef-
fects has been collected. Some "happeners" have tried intimidation, but even the sympathetic
observer rejects overt manipulation. Itls a delicate area, no doubt, but we" worth additional
thought, for mental disposition not only alters the color of experience but can actua"ydetermine
which objective facts we perceive and which we do not.
There is still disagreement among physiologists as to whether attentiveness increases the inten-
sity of a perception or enhances the short-term memory of it, but the effects are sometimes de-
cisive, even in the most basic situation. As noted above, if two signals reach the brain simul-
taneously (and this is not the same as saying that they occurred simultaneously in objective time),
the one which is attended to - either consciously or unconsciously - wi" be perceived as oc-
curring first. Similarly, the more intense of two objectively simultaneous impulses wi" appear
JULY 1968 15
to take place earlier. This is part of the mechanism of apparent motion, whereby the brain in-
terprets several stationary stimulus points (either aural, visual, or tactile) as a single moving
stimulus.
Even more striking is the evidence uncovered by Dr. Paul H. Peon: If aseriesof clicks are sound-
ed near a cat1s ear, matching impulses will travel up the ascending nerve paths to the auditory
regions of the cortex; but when a fish is held in front of the animal1s nose, and the clicks con-
tinue, the related impulses stop. Since the cat1s attention is focused on the fish, it apparently
turns off or diverts the nerve paths earlier concerned with the cI icks. Not only can the brain
ignore or suppress information to which it is not willing to attend, but it can actually prevent
associated impulses from being transmitted.
A normal person, viewing a reversible line drawing, will experience a periodic alternation of
impressions as to whether the figure advances or recedes. Although the initial period between
shifts (caused by the saturation of one perception and the involuntary substitution of another) may
be 5 seconds in the extreme, the rate of alternation gradually increases as fixation continues.
Again, ohe would like to know more explicitly what occurs for the listener who is subjected to
a complex but unchanging sound. Personal experience with extremely prolonged or incessantly
repeated sounds suggests that there are periodi c fluctuations in what aspect of the sound one is
paying attention to.
If one concentrates on a train of signals, its elements are retained in the brain for approximately
5-6 seconds, while elements of an unattended series remain for only 1-2 seconds. Since we can-
not attend to more than one sequence at a time, there are definite limits to the sorts of multiple
sequences that can be "comprehended" simultaneously even in the best of circumstances. There
is, in addition, an increment of time (1/6 of a second) taken by each shift in attention. This
means that very rapid alterations in auditory attentiveness are not only fatiguing, but make the
material literally "unintelligible". Yet some forms of attentiveness require no conscious effort,
and when motivation is high, one can perform remarkable feats of perception. Talking at a par-
ty, in the midst of a dozen other conversations of varying speeds and intensities, the noises of
dishes, background music, traffic, and so on, one can catch the sound of his own name from
across the room.
To achieve even rudimentary control over patterns of time experience, it is useful to frame some
general categories of time experiences. In Blind Men for chorus, brass, and percussion, I use
three varieties: traditionally conducted sections, in which length is definite; "timed mixtures"
which are not conducted, and consist of composite impressions made up of a large number of in-
dividual but similar elements (each player works independently with similar aims, but never calls
attention to himself); joining these two primary kinds of sections are "Iinks", or single events
with some natural limitation on their durations (the capacity of one breath, the decay time of
a struck object, the time required to reach consensus in some kind of joint task, etc.). The con-
ducted sections provide fami I iar temporal sensations for any experienced I istener to contemporary
music. The conductor1s beat and other temporal sound patterns provide foils against which the
passage of events can be measured; but one has, on first hearing, no clue as to their durations.
A continuously changing texture of events is employed so that each primary element is within the
durational range for perceptions (up to approximately 5 seconds). In short, the conducted sec-
tions concentrate on the small temporal dimension, while the overall is "clocked".
Timed mixtures are all precisely the same length, 60 seconds, but during them no clock functions
operate. There is change, but no trends develop. There is no more reason to attend to one thing
than another, and one is released from the obligation to uncover dependencies or relationships.
16
After the first few timed mixtures, the listener may become aware of or guess their objectively
equivalent length. (All conducted sections are much longer or shorter than one minute and all
links are shorter.) If so, he may notice that their apparent length differs according to the way
in which they are populated with more or less interesting aural experiences.
The natural processes whi ch form the I inks, once initiated, are not interfered with. They pro-
ject - because of our previous experience with such systems - a particular sensation of time:
a variable, and to some degree indeterminate, and yet an anticipated duration. Like the timed
mixtures, they involve expected endings, in contrast to the conducted sections about whose du-
rations nothing is known. links are also passive like the timed mixtures in that their processes
are orderly and do not require constant attention, but they tend to generate temporal awareness
as one's expectations are played off against the endurance and skills of the performers.
The factors cited above are only a small fraction of what is involved in shaping our individual
experience of time, but they should be suffi cient to make one th ing clear. The tendency to seek
absolute information on auditory or perceptive capacities, and to achieve foolproof (control-
lable) performance conditions - even with the aid of computers - is unrealistic at this time.
Even assuming a uniform, high level of motivation for all listeners, what is physically possible
for one will not be for another. Increasing precision in the control of traditionally oriented mu-
sical stimuli (more or less ideal, unchanging sound objects projected at the listener from one
direction) does not imply a complementary increase in control over the listener's response. The
composer's range of concerns should be enlarged. There are many perceptual capacities to be
explored, and from my own standpoint, interest in notational procedures and performer - group
dynamics remains secondary to the importance of changing and enlarging the repertoire of the
individual listener's responses, through far more complete knowledge of how they come about.
The way in whi ch a sound is made is, in the end, incidental to how it sounds to the individual
listener.
A BRIEF BIBLIOGRAPHY
du Preez, P. "Reproduction of Time Intervals after Short Periods of Delay", The Journal of Gen-
eral Psychology, LXXVI, 1, Jan. 1967, 59.
Fraisse, P. The Psychology of Time, tr. J. Leith, Eyre and Spottiswoode, London, 1964.
Habner, R. N. II Nature of the Effect of Set on Perception", Psychological Review, LXXIII, 4,
July 1966, 335.
Hirsh, I.J., R.C. Bilger, B.H. Deatherage. liThe Effect of Auditory and Visual Background on
Apparent Duration", The American Journal of Psychology, LXIX, 4, Dec. 1956, 561.
McNulty, J.A., F.J. Dockrill, B.A. Levy. liThe Subthreshold Perception of Stimulus-Meaning",
The American Journal of Psychology, LXXX, 1, March 1967, 28.
Moles, A. Information Theory and Aestheti c Perception, tr. J. E. Cohen, University of Illinois
Press, Urbana, 1965.
Stevens, S.S., ed. Handbook of Experimental Psychology, Wiley and Sons, New York, 1951.
Van Bergeijk, W.A., J.R. Pierce, E.E. David, Jr. Waves and the Ear, Doubleday, Anchor
Books, Garden City, 1960.
Vernon, M. D., ed. Experiments in Visual Perception, Penguin Books, Middlesex, 1966.
Winckel, F. Music, Sound and Sensation, tr. T. Binkley, Dover Books, New York, 1967.
JULY 1968 17
A Variable Speed Tape Drive
Walter Carlos
VFO, which stands for Variable Frequency Oscillator, is the name usually given to a device
commonly found in larger electronic music studios. This device consists of a sine-wave oscil-
lator of good stability that operates in the 30-120 Hz range, a power amplifier that can supply
50-100 watts AC power at 70-110 volts, and an appropriate switching and metering unit. The
latter (Fig. 1) is used to connect the oscillator to the input of the amplifier, remove the normal
power feed to the hysteresis - synchronous capstan motor of the tape recorder whose speed is to
be controlled, and reconnect the motor as the load across the amplifier's output. In this way,
the oscillator's frequency, and not the power company's nominal 60 Hz, determines the tape re-
corder's speed, which can now be adjusted to values other than 7.5 or 15 ips, within limitations
set by the particular machine. In practice, a range of 50% is commonly obtained.
When the VFO technique is combined with the more usual practice of half and double -speed
copying and mixing, virtually the entire continuum of all possible effective tape speeds is avail-
able. Pitch and tempo variations of original electronic and acoustic materials may be controlled
with convenience and, if the oscillator is accurately calibrated, with precision.
In sel-sync work with certain real-time performances of electronic or acoustic materials, it may
be desirable to work at a speed somewhere between 7.5 and 15 ips (the former being too slow
for proper rhythmic II feel ", the latter too fast for exacting articulational demands). In such a
case, the VFO will provide a range of workable speeds with which to drive the multi-track tape
machine.
In my own work, both of the above requirements suggested the purchase of a VFO for my studio.
Since I use Ampex 300 and AG- 440 tape recorders, it was important that the VFO be powerful
enough to drive these machines without attendant wow or flutter, and also that it conform to Am-
FIG. 1.
COMPLETED VFO CONTROL UNIT. OTHER
SCHEMES, SUCH AS RACK PANEL MOUNTING,
ARE POSSIBLE.
pex's connections for their own abortively priced motor-drive-amplifier-oscillator. Price was a
consideration. 50 was the fact that I already owned a fairly stable audi'o oscillator which per-
formed well in the 30-120 Hz range. Thus, I decided it would be expeditious to construct my
own unit.
The first decision was that of power amplifier. I knew that high -power audio amplifiers could
be used with success. Investigating several recording studios, I discovered that Heathkit, Bogen,
and Dynakit power ampl ifiers were frequently used and were dependable. I purchased the Dyna
Mark 111-70/ A, a wired tube amplifier, 60-watt continuous output power, with a 70-volt out-
put tap . The trans istor power ampl ifiers available in th is class might be good alternatives, ex-
cept they are trickier to connect and may not be able to supply full voltage at the motor's im-
pedance . The conservatively-rated Mark III has ample power for all Ampex capstan motors.
All interconnections between the oscillator's output, the amplifier's input and output, and the
cable from an eight - pin Jones connector to the Ampex (other connectors must be used for dif-
ferent tape machines), are located within a small aluminum sloping -panel cabinet, approxi-
mately 5" square . Here are also located an AC voltmeter to measure the voltage being applied
to the capstan motor, a switch for convenient alternation between normal line and VFO drive
functions, and an adjustable shift -lock control to preset voltages in the VFO position so that,
at a convenient output setting of the oscillator (maximum), the proper voltage (approximately 95
volts in VFO position) can be fed the capstan motor without undue loading and clipping in the
amplifier, or stalling or vibration of the motor.
The schematic I used is shown in Fig. 2. It can be easily adapted to most particular needs. I
used an expensive 5impsonvoltmeter for accuracy, which has a scale from 0-150 volts, but per-
hapsa less expensive meter would be satisfactory. The level-set pot is an Allen-Bradley 2-watt
molded unit. The switch is a rotary in steatite (ceramic) by 5witchcraft. The whole project,
including cables and connectors, cost well under $140 and involved a single evening's work to
assemble.
For convenient operation, the small cabinet is best located with in reach of both the tape trans-
port and the oscillator. The power amplifier can be remotely located for best ventilation. An
auxiliary remote power switch for the amplifier could be installed in the small cabinet. In the
LI NE position, the amp Ii fier si ts unterminated on either input or output, but the Mark III is stabl e
enough to sit that way without thermal or other runaway.
LINE
1
'0 60
__ :-J'OO[:K --=- _ TO INPUT

. "5J SOW POWER AMP
OSCILLATOR-
70V'
(BALANCED, UNGROUNDED)
TO OUTPUT
30-150V' AC
MOTOR:E HOV NORMALLY
_____ - T TO MOTOR ....
ALTERNATE CONNECTOR MOTOR
FIG. 2 .
SCHEMATIC OF VFO INTERCONNECTIONS.
J ULY 1968
19
The oscillator should be warmed up for 15-20 minutes before use to ensure stability. The unit
should not be left unloaded by the motor while in VFO posltion for more than a few minutes or
possible damage to the power ampl ifier may result. A conservative frequency range for extended
time usage should be employed. I usually restrict myself to 45-85 Hz, but a smaller motor may
perm ita broader comfortab I e range.
Some Problems and Prospects
in Copyrighting Electronic Music
Paul Sfrok Adler
Copyright Protection in General
To put the discussion of copyrighting electronic music in perspective, it may be useful to give
a brief review of the copyright law and its application to traditional musical compositions.
A. Under the present law, copyright in a published manuscript or score is secured by "publi-
cation" with "notice" of the claim of copyright. The notice consists of the word "Copyright",
or the abbreviation "Copr.", or the letter "c" within a circle [], followed by the name of the
person claiming the copyright and the year of publication, placed on the title page or the first
page of music. (The symbolis used in order to secure international copyright protection under
the Universal Copyright Convention.) Since American law is quite strict about formalities, the
notice must not only follow the statutorily prescribed form, but must appear in the statutorily
prescribed place. Omission or misplacement of the notice may lead to loss of copyright.
What constitutes "publication" could easily take an essay by itself, but as a guiding principle
it is sufficient to say that a general, unlimited distribution, typically such as, but not necessar-
ily limited to, sales of the printed score, is a publication. The mere circulation of a manuscript
for consideration by publishers is not a publication.
B. As a general rule, publication with notice, not registration, is the prerequisite to copy-
right protection. Thus, registration of the composition in the Copyright Office is not appro-
priate until the work has been published. (When a published work is registered, two complete
copies of the best edition of the work then published must be deposited in the Copyright Office.)
There is one exception to this rule. Certain classes of works, including musical and "dramatico-
musical" compositions may be registered as unpublished works if no copies have been distributed
for sale. If copyright is sought for an unpublished work, deposit of copies and registration in
the Copyright Office do become prerequisites to obtaining protection. (In this case one com-
plete copy of the work must be deposited with the Copyright Office.)
Although registration is not a prerequisite for obtaining copyright protection for published works,
it is a prerequisite to the filing of a suit for infringement. Upon registration, the copyright own-
er receives a certificate of registration. In a lawsuit for infringement this certificate will be
treated as prima facie evidence of the facts stated in it. (These facts include authorship of the
work, ownership of the copyright, citizenship of the copyright owner, title of the work, date of
publication, and date of registration.)
C. Before a composition is published, or registered as an unpublished work, it may be protec-
ted under the common law of the States. This common law copyright is lost, however, once the
work is published. Common law copyright protection exists in perpetuity rather than being lim-
ited to the statute's 56 years (an original 28 year term and a renewal term of 28 years). It also
Copyr ight 1968 by Pa ul Strok Adler. All rig ht s reserved .
JULY 1968 21
protects a work against unauthorized performance without regard to whether the performance is
in public or for profit. (Under the statute, the performance right for non-dramatic musical com-
positions is limited to public performances for profit.) Otherwise common law protection is sim-
ilar to that provided by the statute. However, the benefits of the statute, e.g., its provision
for minimum damages and the certificate of registration are, of course, not available.
Electronic Music
(Although computer music is part of the broad category of electroni c musi c, I imitations of space,
and the somewhat different legal problems attendant upon copyrighting computer music, compel
me to forego consideration of the problems presented by computers in this article.)
A. The Problem of "Copies"
1. The most difficult copyright problem facing the composer of electronic music is that it
has been typically held that a recording is not a "copy" of the work in which copyright may be
claimed. The Copyright Office does not accept records (or tapes) for deposit and registration
with the Office. This will be changed if the pending bill for copyright revision is passed.
At the present time, if a composer composes directly onto tape, without making a "readable"
score (i. e., a score with conventional notation designed to more adequately represent the tones
produced by electronic methods, but which can be read by a person trained to read such nota-
tion) he may be held not to have reduced his work to a "COp/I within the meaning of the Copy-
right Act. This rule is rooted in a 1908decision of the Supreme Court, applicable to piano rolls,
rendered under the predecessor statute, but viable today and extended a fortiori to such modern
technical advances as records and tapes.
The thrust of the Court's argument in this early case was that in order for there to be a "copy"
of a musical composition it was necessary to have a written or printed record of the composition
in an intelligible notation. A piano roll, thought the Court, did not fit that requirement. It
is worth noting that the Court did not determine that a piano roll could never be a copy, only
that it was not one under the statute.
The Regulations of the Copyright Office reflect this theory. These Regulations state that mu-
sical compositions are registerable "in the form of visible notation" and that II [a] phonograph re-
cord or other sound recording is not considered a 'copy' of the compositions recorded on it, and
is not acceptable for copyright registration ... "
2. In the face of this difficulty, what avenues leading to registration are open to the compos-
er of electronic music? There are a number of approaches which mayor have been taken and,
undoubtedly, the ingenuity of electronic music composers will lead to many more. The follow-
ing discussion is not intended to suggest that the methods considered are the only ones available.
a. The composer might submit a narrative statement of the mechanical adjustments necessary
to produce the sounds of his composition (which dials are to be turned, how many turns, their
direction, etc.). In some ways this may be the simplest of the alternatives available, but it is
also probably the least accurate. Copyright will protect only what has been described. To the
extent that the description provided does not precisely describe the collocation of sounds sought
to be copyrighted, to that extent some of the actual sounds of the piece will not be protected.
b. A second possibility is to submit a score of the work. If an adequate system of scoring
can be developed for the various electronic devices used to produce this music, itwill have the
advantage of being in a form traditionally acceptable to the Copyright Offi ce. Although the
Copyright Office will accept non-standard scoring, preparing a score is apparently so difficult,
and ultimately inadequate to the task, that composers of electronic music have, by and large,
avoided it.
There has been some suggestion that the answer to the dilemma is to IIfake
ll
a score, but that is
a solution more apparent than real, and the reason I ies in the nature of copyright protection.
Its core is literally protection against copying the discrete work in which the right is claimed.
If a musical composition exists only in the mind of the composer, how is he to prove that it has
been infringed by another? In the more specific case of electronic music, how is he to prove
that the music on his tape, protected only by the II faked II score, is actually represented by that
score? If the work that the composer is trying to protect is different than the work deposited,
then the composer is going to have a hard legal row to hoe if he ever goes to court.
A "faked
ll
score that does not follow traditional forms of notation faces an additional problem.
The submission of seemingly random I ines, for instance, may bring queries from the Copyright
Office. The Office will want to know how it is to determine that this is a fixed work of lIau-
thorshipll rather than a random collection of lines from which no single musical composition could
be repeated or played. Once the II faked II score has to start having "meaningll, however, it be-
comes less "fake
ll
and more "real II, and the composer is again faced with all the difficulties in-
herent in the "Iegitimate
"
scoring of electronic music.
It should be noted, however, that the mere fact that a system of scoring is complex and tech-
nical, and the training necessary to understand it correspondingly difficult, does not make it
unacceptable to the Copyright Office. Indeed, the fact that only the composer can understand
the score would not make it unacceptable for deposit and registration.
c. A third method for obtaining copyright protection is to make an oscillogram of the com-
position. This may be done by playing a tape of the work into an oscillograph. The resulting
II picture" of the electrical impulses recorded 8y the machine would be an exact
of the sounds produced by the piece and would be capable of being IIread
ll
just as a traditional
score would be. This gives it advantages over both of the previously suggested approaches. The
Copyright Offi ce has accepted such submissions. Indeed, it has accepted a seismogram as a copy.
The drawback is obvious, of course, The equipment would be expensive and unwieldy for a com-
poser to have around his home or studio.
The various methods of creating copies of the composition discussed in (a.) through (c.) above
would be registerable in the Copyright Office in Class E IImusical compositions
ll
or (if appropri-
ate) Class D IIdramatic or dramatico - musical compositions
ll
(The Copyright Act provides that
in applying for registration of a work the applicant shall specify to which of thirteen enumerated
classes the work belongs. The statute further provides than an error in classification does not in-
validate or impair copyright protection, nor are the thirteen classes intended to limit the sub-
ject matter of copyright as defined in the statute. Failure to fit the work into one of the enu-
merated classes, however, may, in fact, result in a refusal to register it.)
d. The previous suggestions have all followed "traditiona I" approaches. One rather unique,
and, as far as I know, untested, approach has been suggested. It is to make a sound movie of
a tape machine playing the electronic piece and then submitting the movie for deposit and re-
gistration in Class M (ll motion pictures other than photoplays"). Similarly, a non -sound film
could be made of an oscilloscope (the oscil loscope performs the same function asan oscillograph,
JULY 1968 23
except that the electrical impulses are projected onto a screen). The resulting motion picture
would also be submitted as a motion picture other than a photoplay. Under present Copyright
Office policy, the film would not be acceptable as a copy of the musical composition, but if it
is accepted as a motion picture other than a photoplay, the classification would seem immaterial.
This approach has the advantage of resulting in an accurate reproduction of the specific sounds
sought to be protected, but, again, would require a considerable amountof bulky and fairly ex-
pensive equipment.
B. The Problem of "Copies": Copyright Revision
Under the revised copyright bill passed by the House, and awaiting action by the Senate, "copies"
are defined as II materia I objects" (other than phonograph recordings, which are defined sepa-
rately) "in which a work is fixed by any method now known or later developed, and from which
the work can be perceived, reproduced, or otherwise communicated, either directly or with the
aid of a machine or device. II A work is considered "fixed" in a tangible medium of expression
"when its embodiment in a copy or phonorecord is sufficiently permanent or stable to per-
mit it to be perceived, reproduced, or otherwise communicated for a period of more than tran-
sitory duration". "Sound recordings" are defined as ''works that result from the fixation of a series
of musical, spoken, or other sounds, but not including the sounds accompanying a motion pic-
ture or other audio-visual work, regardless of the nature of the material objects, such as disks,
tapes, or other phonorecords, in wh i ch they are embodied. II
Copyright protection, under the proposed statute, subsists "in original works of authorship fixed
in any tangible medium of expression, now known or later developed, from which they can be
perceived, reproduced, or otherwise communicated, whether directly or with the aid of a ma-
chine or device". Works of authorship are defined to include "(2) musical works, including any
d II d II (7) d d' II
accompanying wor s an soun recor Ings
There have been suggestions that the revision bill gives only limited protection to composers of
electronic music. This conclusion is based on the theory that electronic music composers will
be able to obtain copyright protection for their works only as sound recordings with just the lim-
ited rights provided under the statute for copyrighted sound recordings. (Under the revision bill
the owner ofa copyright in a sound recording receives only the right to reproduce and distribute
copies of the work, and the right to reproduce only the actual recording he has made. Another
person may make an independent recording of the identical sounds as long as he does not "dub"
the original.) But this argument ignores the statutory language. Copyright protection, it should
be remembered, subsists "in original works of authorship fixed in any tangible medium of expres-
sion". Thus, an electronic music composition, fixed in an appropriate tangible medium of ex-
pression, such as a tape, would be entitled to protection as a "musical composition", not as a
"sound recording", and the limitations on copyrighted sound recordings would not apply. This
view is supported by the Committee Report which accompanied the revision bill to the floor of
the House.
C. The Problem of II Noti ce II
At the outset I indicated that the notice requirements of American law are both technical and
strictly observed. However, though the form of notice is provided for in the present statute for
all classes of works, the proper place for the notice is specified only for books or other printed
publications, periodicals, and musical compositions. (For certain classes a short form of notice
is permitted and in those instances alternate places for putting the author's name are set out.)
24
Thus, if a score is submitted (whether using traditional or non-traditional notation), the notice
should go on the title page or the first page of music as provided in the statute. If a narrative
statement of the mechanics of producing the sounds of the piece is submitted, then the proper
place for the notice would appear to be on the title page or the verso of the title page.
There are no provisions in the statute setting out the proper place for a notice in the case of mo-
tion pictures, oscillograms, or the like. A notice placed under the title or on the first reel of a
motion picture should be sufficient to protect the picture. In the case of an oscillogram (which
is essentially a strip of tape or paper) notice along one margin or side of the tape which bears
the lines which are a record of the electrical impulses captured by the machine would appear to
be sufficient (but in keeping with the spirit of the present Act, and the judicial decisions deal-
ing with the copyright notice, it would be wise to place the notice at the beginning of the tape
rather than somewhere in the middle or at the end).
The guiding principle is that the notice should be easy to read and easy to find. It should prop-
erly perform its function of notifying any user that there is a claim of copyright protection.
This is essentially the theory underlying the House revision. Although the proposed new law would
continue to require notice and specify its form, it is less specific when it comes to placement.
Thus, the bill provides that liThe notice shall be affixed to the [published] copies in such a lo-
cation as to give reasonable notice of the claim of copyright.
1I
The Register of Copyrights is au-
thorized to prescribe by regulation examples of IIspecific methods of affixation and positions of
the notice on various types of works that will satisfy this requirement, but these specifications
shall not be considered exhaustive
ll
. (However, the proposed new law does set out both a spe-
cific form of notice and a specific place for notice in the case of phonograph records.)
D. The Problem of Joint Authorsh ip
Although not now considered to be a problem by composers of electronic music, joint authorship
is likely to become one as the field grows and as the economic and other professional rewards
for electronic music compositions increase.
Joint authorsh ip is an area of the copyright law which has engendered a considerable amount of
confusion even with conventional works. Although the problem can arise in a number of differ-
ent ways, the focus here is on the situation where the composer has worked with various tech-
nicians in order to produce a finished piece.
There is no definition of joint authorship in the present law, but the revision bill defines a joint
work as lIa work prepared by two or more authors with the intention that their contributions be
merged into inseparable or interdependent parts of a unitary whole
ll
No definition of lIauthorll
is provided, but the Committee Report makes it clear that notions of original ity already devel-
oped under the existing law are intended to be incorporated in the new statute.
Under present law, and probably under the revised law, if the composer alone contributes the
IIcreativityll which results in the composition, and the technicians perform merely the technical
functions (e.g . ., the turning of dials, the feeding of tape), then it seems fairly clear that the
composer is the sole author of the work. (Sharing in the design of a machine which produces
electronic music does not, of itself, mean sharing in the authorship of works produced on it,. any
more than a builder of pianos is a joint author with those who compose on or for the instrument.)
The problem of joint authorship would seem to be less acute with electronic music than with com-
JULY 1968 25
puter music, for in the former case the composer typically works directly with the sound produc-
ing machinery and tapes while in th.e latter case the composer may be working in conjunction
with programmers whose contribution to the composition might be sufficiently creative to suggest
that they share in the authorship of the music.
Conclusion
The most formidable legal problem facing the composer of electronic music today is that he may
be held not to make" copies" of his work capable of being copyrighted. There are several ways
of getting around this limitation, but they are all attended by difficulties which seriously impair
their usefulness.
The proposed revision of the copyright law would solve at least this problem by recognizing that
tapes, and the like, are "copies" of works capable of being copyrighted as musical compositions.
However, the chances for passage of the bill by the Senate now appear to be ended for th is Ses-
sion. Because legislation does not survive a Congress the next Congress will, in theory, have
to begin allover again. Congress's failure to pass a bill this year would be a major setback for
the forces of enl ightened revision.
26
Tube Filters
Robert Erickson
Tube filtersare inexpensive, useful, controllable, homemade devices. They are especially val-
uable for spectrum shaping, and work well at low pitches. They may be used at either input or
output end, and lend themselves to electronic performance situations as well as studio applica-
tions. They can be the basis for several different musical instruments; I am now building a set
of them into a "noise organ"
All of my work with tubes has been empirical. My materials have been discarded cans, plastic
sewer pipe, and miscellaneous pipe salvaged from junkyards. No special mechanical skills are
required for making these filters. One needs only sharp ears, patience, and a great deal of pipe.
This report deals with filters at the output end, as loudspeakers. However, they also work well
at the input end, using a microphone in place of a loudspeaker. There are certain difficulties
associated with microphones in tubes, but experimentation should yield useful results.
Using a cylindrical tube about 41 long, with a diameter of about 2 1/ 2", a small speaker is at-
tached at one end, its diaphragm facing into the tube. The rear of the speaker is completely
sealed . Ifone uses this tube as a speaker it will resonate just as a closed pipe: at itsfundamen-
tal and harmonics, regardless of the program. (A closed pipe produces only the odd-numbered
harmonics. If the speaker diameter is smaller than that of the pipe, so that air can escape from
both ends of the tube, it is an open pipe, which speaks one octave higher and produces a com-
plete harmonic series.) Noise, tape hiss, the environment - anything at all is converted to
the pitch and timbre of the tube. Whatever program passes through the tube will be heard in its
entirety, but program materials which happen to coincide with the fundamental or harmonics of
the tube will be reinforced. The tube will have a top cutoff and a bottom cutoff, depending
upon its length and diameter. It can be thought of as a sort of comb filter passing the funda-
mental and harmonics. Every tube passes many frequencies, not just its fundamental, and some-
times not its fundamental at all. Perhaps it is best to th ink of a single tube as passing a chord
consisting of harmonics of that particular pipe. This may be helpful to those oriented toward
electronic filters, because most electronic filters pass single frequencies or bands, not a har-
monic series.
Various spectra can be created quite easily by varying the length/diameter ratio. The tube de-
scribed above will give a fair fundamnetal, good seventh, tenth, and twelfth harmonics, and
a great many of the higher harmonics. In practice the spectrum will have many valuable small
nuances, since the various harmoni cs wi II speak strongest when excited by the program material.
Using another tube with the same fundamental pitch, only narrower, say 111 in diameter, there
will be a very different spectrum: a much stronger twelfth, and more and stronger higher har-
monics, even up to the sixteenth, 24th, and, if the tube is quite long, 32nd harmonic. Such
a richness of harmonic development is usually associated with the sounds of musical instruments,
and indeed, tube filters produce sounds which have that sort of instrumental richness. Very thin,
long tubes will develop high harmonics strong enough to overpower the sound of the fundamental,
and are very beautiful.
JULY 1968
27
Construction is quite easy. Masking tape andor duct tape may be used to tape discarded cans
together to make long tubes. For a smoother tube, plastic pipe comes in diameters from 1" to
6", but the larger diameters are quite expensive. Stove pipe and galvanized iron gutter pipe
are also useful, but naturally more expensive than discarded cans.
The speaker is attached tightly to the end of the tube, again using tape. To seal the rear of the
speaker, a can or a cut -down can is useful. Duct tape will make an airtight seal. It is also
advisable to seal the rearof the speaker when inserting it into anopen pipe, allowing about 1/4"
of air space between the speaker and tube, so that the tube can speak easily as an open pipe.
The tube is tuned by playing a tape of random sounds or white noise, adding or subtracting cans
until the pitch is close to that desired, but flat. The top of the tube is cut off with tin shears
until it is almost in tune, just a hair flat. Then a narrow slot is cut in the top of the tube for
the fine tuning. This slot can be covered with duct tape to the proper length for accurate tun-
ing. Another good tuning devi ce is a tuning collar from another slightly larger can or out of a
soft metal such as aluminum. One can make a long collar to produce a tube which is tunable
over a fairly wide range; however, if there is an appreciable change in the length of the tube,
the timbre will also change . Both fixed and variable tubes are valuable.
Tubes of a smaller diameter produce less sound, and one can sometimes make a better impedance
match to the surrounding air by adding a small flange, flare, or bell (this will produce small
changes in the spectrum). Funnels of various sizes are excellent for this purpose, butother shapes
can be cut from soft aluminum sheet and are less expensive.
Tubes may be made into an array. The noise organ I am constructing will use tubes ranging in
pitch from 32
1
C to soprano high C, and in several length/diameter ratios. Controlled by a key-
board and pots, and having ranks of different types of pipes, it will in fact be a sort of organ of
filters, with a wide range of timbre possibilities. Closed and open pipes are in diameters from
3/8" to 8". Lengths are from a few inches to 16
1
My noise organ has the same difficulty in its
high range asdo regular organs, and I am doubling and quadrupling some higher pitches to bal-
ance out the strong bass end. Compound pipes (see any book about organ building) are easy to
make, and can produce more complex timbres, including inharmonic mixtures.
Another sortof array is a lOUdspeaker system. I hit upon it by chance when I connected together
asetof filtersand discovered that they covered a large partof the audio spectrum rather evenly.
I set about constructing a speaker system of tubes. This has been in use for several months, al-
though it still needs a very top end and some extra long tubes for the deepest bass sounds. At
present it fades at about 12,000 Hz but, nevertheless, it has a remarkably good sound, surpassing
the usual monitor speakers a composer is forced to use. The special characteristics are: very good
bass, better than boxes and single horns, with excellent transients (usually muddied in boxes);
a very open sound, transparent and lifelike, responsive to the tiny nuances in the detail of in-
strumental sounds (often missing from other types of speakers ); efficiency, making possible the
use of 10 and 20-watt ampl ifiers; power, depending upon the size of the system; economy, be-
cause even though many speakers are used they can be quite inexpensive; very low distortion,
better to my ears even than the sound of horns.
The drawbacks are obvious. The system takes space, and many tubes must be used to average
out the spectrum. My stereo system now has eleven tubes on each side of the bass, and ten on
each side of the mid-range. The bass tubes range from 51 to 141 in length, and from 3" to 6"
in diameter. The mid-range tubes are from 14" to 36" in length and from 3/4" to 3 1/2" in di-
ameter. The bass end will be extended to twenty tubes on each side and a treble end of fifteen
or twenty per s ide wi II be added.
The response is smooth to the ear, probably due to the averaging effect of a number of tubes,
and because the tubes are relatively thi ck in relation to length, with therefore a lower Q than
thin tubes. Also, all of the tubes are closed pipes, and closed pipes with speakers at one end
do not produce as sharply defined fundamentals as open pipes, unless they are very thin. More-
over, all the large diameter pipes are made from discarded cans, and the numerous bumps where
they are taped together probably help them to speak more harmoni cs than would a smooth tube.
Most important is the averaging effect. Th is is apparent with even three or four tubes, where
the fundamentals already tend to disappear andor merge into a broader response.
Whatever the reasons, the system, even in its current state, sounds remarkable, and twenty or
thirty musicians have listened with delight. Composers who need high quality monitors ought to
consider building such a system. The cost should be well under $200.
JULY 1968
29
Reviews
I've been asked to review records here and, since I've been shot down in these pages myself and
so am not as immune as most critics, I accepted - with trepidations. To cover the trepidations,
I asked for a preface to my first review, and this is it. I had planned a long essayon The Crit-
ic's Role and all, but to leave a little room for the records, I'll limit myself to one preparatory
remark, and let the reviews themselves open my bag of prejudices.
In electronic music, since the record often ~ the music, record reviews must often be music crit-
icism, and music criticism is a literary, not a musical, exercise. It adds or detracts nothing to
or from the music; it just flutters around it. What I mean to say is: don't leave the testing of your
lightbulbs entirely to a moth. The best the moth can do is try and make an entertaining flight
and draw attention to the light. Making and listening to music is central; criticism is peripheral.
All this should be self-evident, but I'm compelled to say it again before I begin my flight. Ev-
eryone recreates as he listens; these reviews are my recreation of events that, fortunately, exist
for you to examine, yourself.
liThe United States of America II Columbia CS-9614.
This LP is the first to be issued and promoted (by Columbia as part of their II Music of Our Time"
campaign) as Electronic Rock. Joseph Byrd seems to be the generator of the group, and the Elec-
tric Violinist doubles on ring modulator. The album lists "electric harpsichord, electric drums,
electric bass and electric guitar" as well as electric violin and "electronic music". That should
be enough electricity to make electronic rock - but it doesn't happen. Electronic is a way of
thinking, not just plugging-in, and this group (The United States of America, no less) thinks
straight pop. The circuitry serves only to produce the familiar burble-glissandi ornamentation
that weaves around, but never enters, the music. The motor and melody are still straight rock;
the new electronics are wrapped around the rock like colored foil.
The fuel for this music is still acid, not AC. The whole LP has a very strong acid sound: a wide
range of sonority and dynamics, some quite lovely songs and some very bad trips with Bosch and
belladonna; the new price of drugs is acknowledged (liThe cost of one admission is your mind"')
in some horrendous imagery - sung through the ring modulator fuzz box. Like the Beatles' and
Stones' LPs that came before it, this record is a whole show; it opens and closes with what used
to be called a Production Number: a three-ring Ivesian sound collage of everything plus calliope.
Every cut is a different departure, and that's the problem: the music seems to go away from you
instead of coming at you or into you, and when it's over, you can't remember a thing. But, while
it's going on, it's always interesting, sometimes lovely, and sometimes bitterly funny.
Unlike the groups that have influenced them, the USA haven't found a personality of their own
yet, something to bring it all home. They're depending on the electronics to lend an overall col-
or to their work, but the color is painted on, not dyed in; they won't, or don't yet know how to,
let it generate content. What they've got to do is let the ring modulator light their fire, instead
of fluttering around it like my metaphorical moth.
The Zodiac by Mort Garson. Elektra EKS-74009.
Any LP that's labeled MUST BE PLAYED IN THE DARK discourages me from playing it at all.
once experienced an unpleasant levitation listening to Kontakte in a totally dark room: about
midway in the piece, I found I was hovering up at the ceiling. I don't know how this happened,
but I've avoided listening to anything in the dark since then. In a well-lit room, then, this LP
sounds a little silly. Obviously, by chickening-out, 11m missing the full effect.
There are a dozen cuts on th is record - someth ing for everyone - so, being born in March,
played IIPisces
ll
first and found I was by. nature a Peaceful Person: IIPisces playing the pipes of
peace, painting people with promise . II - which seems about as accurate as most horoscopes,
considering what I'm doing here. If you can stand all that alliteration, you'll find the music
behind it (by Mort Garson) surprisingly good pop, in a wide range of styles. There are some
electronic sounds in it ( the instruments are credited to Paul Beaver); they're minimal, but very
well integrated. I expect this is one of those Soundtracks for Mind Movies which Elektra i,s so
fond of. The trouble is, my mind movies aren't Talkies yet.
IIElectronic Music 11111: Thema (Omaggio a Joyce) by Luciano Berio; Animus I by Jacob Druckman;
Piano Musi c for Performer and Composer and Six Preludes for Magneti c Tape by i Ihan Mimarolu.
Turnabout TV-34177.
This LP hasa theme: Transmutation Through Electronics. Each of the three composers takes a II nat -
ural
ll
instrument (Be rio, voice; Druckman, trombone; Mimarolu, piano, guitar, organ, clarinet,
and rubber band) and changes its voice in composition - not always for the better. The best is
Berio.
I first heard Homage to Joyce in 1960 or 61, in a broadcast, and live remembered it ever since.
It's clear and beautiful, and dramati c. The moment the tape composition enters, after the Joyce
text has been read (unaltered), is a great one, a very theatrical event. In this recording, the
necessary stage-wait between the reading and the tape has been drastically shortened, and so
the effect is reduced, but it's still hair-raising.
The piece is a classic - not because it's old (1958 is 1I0ld
ll
in electronic music) but because it's
so good. It has the same exact weight and balance as Varesels Poeme electronigue (also 1958),
the same perfect length (eight minutes) and the same sense of reserve-of-riches, exactly placed
in time. The bubbling IIBloombloombloombloom
ll
and the repeated IIl0nely, so lonelyll, have a
sensuousness of sound lacking in Stockhausen IS vocal work, Gesang der Junglinge, composed two
years earlier. The German piece is angular and a good deal less loving - but then, the setting
of the texts are quite different: onels in bed and the other is in a furnace. (The Italian's in bed
and the German is in the furnace - providing some kind of musical-histori cal illustration, I do
believe. )
After Thema, the other pieceson this record all seem too long and somehow unpleasant in a pro-
found way. Both the Druckman trombone piece and the piano piece made me un-
happy - not constructively unhappy, just feeling bad. The piano piece is particularly harsh: a
battle between Man and Machine in which, like Druckman's piece, the man loses. More mu-
sical-historical illustrations, I guess, and you could say I'm on the losing side, so live lost my
objectivity about these works. Also, I always have a hard time with serial (or post-serial or
pointillist or whatever) work, and these pieces sound serial to me: clumps of notes separated by
indeterminate silences. (I mean: pause.) I have to
have something else to get me through all those holes, and the synthesizer alone just does not
give me enough klangfarben to make it worth the bumpy ride. Druckman does some very skill-
ful things with it: wry little joking back and forth with the trombonist - but when the Machine
finally tires of playing with the Man, and literally stomps him to death in a din of metallic slam-
ming and screaming, I want to go back to Molly Bloom's bed.
JULY 1968
31
I'm not reading something into this that isn't there. Both pieces are described by their authors
in terms of battle. In both, there are moments of real interest, particularly when the man and
machine initially collide - but they're brief, and the fight is fixed.
piano piece might have been subtitled Shoot the Piano Player, but hedoesn't quite
do that; he has him end up imitating the Machine. In his Six Preludes, which complete side
two, he goes on with these imitations, and I find it remarkable how he can make all the different
instruments sound I ike the same synthesizer. I can remember when it was the other way around:
the RCA Mark I trying to sound like a dance band. But the last Prelude is a surprise: totally un-
like the others, it has a spoken Turkish poem over the oscillators, and the melody of the voice
over the sine waves is lovely. I suppose I wei comed it after all that inhumanity-to-man, but I
also welcomed the unbroken lineof it. I have to prefer Berio'swhole egg to the scattered Grape-
Nuts in these pieces, and - being a Pisces -I have to prefer peace to a war without survivors.
This LP has more war than peace in it, but, on the other hand, that's telling it like it is, isn't
it?
Silver Apples of the Moon by Morton Subotnick. Nonesuch H-71174.
This is the first LP of electronic music I ever heard talked about by people who were not Elec-
tronic Groupies. A proper lady in New Haven recommended it to me, as did an improper Head
in New York. So I got it and sat down with it and became discouraged by the first side: more
Grape-Nuts synthesizer. I turned it over and hoped for better times, but Part Two started out
the same way. Then someth ing began happening - a sound I ike a nervous foot tapping under-
neath the perfect surface. Someone (was it me? ) was impatiently drumming his fingers. The
tapping grew, the drumming advanced, a bass-octave motor started up in the right speaker -
and for eight minutes (the magic number) a great beating, zapping, rhythmic exercise went on.
(I mean "exercise" in the sense of muscular repetition.) It sustained and built in a slow, exactly
controlled crescendo, a kind of New Bolero (I like the Bolero). At the peak, great warblesap-
pea red overhead and a skipping wh ite-noise cymbal pattern darted in and out of the croaking,
snapping motor. There was no overlaid melody; it was inside the rhythm. Then suddenly, it all
fell away, leaving just the low note of the octave beating, then just the original foot-tapping,
and then it all evaporated into random twittering, and I was back where I started. But I wasn't
the same.
I played the first side again, right away, and I just began to see the whole piece - all the Ap-
ples - as a Work, even with the lumps in the serial which always give me trouble. It's a beau-
tiful record, very clean and crisp; it seems to glitter with precision, but it's not cold chrome -
there's a good deal of wit in it. I found there was a kind of preview of the rhythm, toward the
end of side one (I hadn't identified it as any kind of coherence the first time, being severely
serial-sick by then), but it was hilariously disjointed, and collapsed on take-off like a garage-
roof airplane.
I expect I'll wear out those eight minutes of grooves on side two before I've scratched side one.
When you know what's on the second side, it takes great discipl ine to start at the beginning.
But - if you haven't heard it yet - do it, because it all belongs together.
Nonesuch commissioned this work for LP publication. It's worth a lot more than a dollar-ninety-
eight, and I hope they all make money on it; and I hope (probably vainly) that other companies
will start commissioning works in the same way so we can have a rain of Apples this year.
32
"New Sounds in Electronic Music": Night Music by Richard Maxfield; I of IV by Pauline Oli-
veros; Come Out by Steve Reich. Odyssey 32160160.
"Extended Voices": She Was a Visitor by Robert Ashley; Solos for Voice 2 by John Cage; Cho-
rusand Instruments II and Christian Wolff in Cambridge by Morton Feldman; Extended Voices by
Toshi Ichyanagi; North American Time Capsule 1967 by Alvin Lucier; Sound Patterns by Pauline
Oliveros. Odyssey 32160156.
"A Second Wind for Organ": Improvisation by Mauricio Kagel; Mesa, for Cybersonic
Bandoneon by Gordon Mumma; For 1,2 or 3 People by Christian Wolff. Odyssey 32160158.
Columbia has been trying to catapult itself into the 20th century of late, dragging the old reper-
toire along ("Berlioz, the Drug Addict! He took psychedelic trips," says a recent Columbia ad
for the Symphonie Fantastique). Odyssey is Columbia's poor-relation label (as Nonesuch is to
Elektra and Turnabout is to Vox), and these three Odyssey discs are part of M. 0.0. T. (Musi c
of our Time) and MOOT is "What's Happening, the Now Sound!" (another Columbia ad), All
this foofarah, of course, makes any adverse criticism instantly reactionary. Reactions:
I listened for new sounds in "New Sounds in Electronic Music", in vain (by now, I don't think
there are any left), but found two good pieces and one not so. Steve Reich's Come Out is an
interesting looking cut - very dense and regularly patterned, and it sounds like it looks. The
Sonic Material ("Now" for sound source) is a looped spoken phrase: "Come out to show them."
When I say it's looped, I mean an endless loop; it's too long by half, but it's a tribal chant -
a very Now form, according to McLuhan, who is also a member of MOOT - and you're not sup-
posed to use Western clocks to measure Eastern time.
The voice-loop is split onto two tracks, and as the piece goes on (and on), one channel lags be-
hind the other, turning the voice into a very rhythmic instrument. (This lag also causes three
nice upscale-and-down phasing effects when the piece is played in mono.) As the lag between
tracks widens, and more voices (the same loop) are added to the mix, the phrase turns into "Cuma
T
h Od " "C ". h k h "T' h" . . I'k d "Od "b
IS em: uma IS t e spo en c ant, IS IS a gUlro- I e rasp, an em ecomes a
honking horn note. Towards the end, so many voices come in that it all sounds like a cloud of
hornets. There's no dynamic range at all, and the rhythm changes are so slow that the needle
could lock in a groove and you wouldn't know it for half an hour, but if you're able to abandon
yourself to it, it will take you into a very non-European time experience. It bothered me that
it just faded out at the end, but I guess, since the piece was made for a civil-rights rally, it
had to Go Marching On.
Richard Maxfield's Night Music is more like a long day in an aviary. The piece is more orless
continuous, non -stop heterodyne warbling, and it's oddly muffled throughout. Like Reich's
piece, it just fades away after a while. The piece was originally used for a dance, and it would
work for that because the warbles are strongly rhythmic, but by itself, it's too long and doesn't
go anywhere at all.
Pauline Oliveros's I of IV illustrates oneof those Laws we are supposed to be overthrowing: Ten
Minutes of a Fast Rhythm is Longer than Twenty Minutes of a Slow Rhythm. I of IV, although it
takes up all of side two, is not too long, it's just right. This piece is slow and very spacious,
atmospheric and very beautiful. The action is at the extremes: very high glissandi going way
up inside your head, and a low motor rumble in the bass, and I suggest you turn the bass and tre-
ble all the way up when you listen to it. Like Maxfield's piece, this is all generator hetero-
dynes - sounds from beyond 20 kHz, difference tones, laid down with crossed tape-echo be-
tween channels (a figure 8 circuit loop between tracks) and a long delay (of several feet) between
record and playback heads. This technique always results in a vast stereospace being created-
JULY 1968 33
a real cathedral - but it only works with legato glissandi (I mean, slow continuous frequency
changes) and it's impossible to edit - there are no holes at all - so this had to be a Real Time
piece. There must have been a cumulative exh ilaration in doing it straight through - a sense
of expanding power in control, and this comes through - particularly the power, which appears
in the form of a megawatt pedal tone. Over this are laid the long, lovely tuning wails which
develop in the foreground and move slowly back into infinity. The piece is at once delicate and
strong, not afraid of the new-old clichesof tape-echo ping-pong and outer-space whooees, and
very moving: a beautiful slow voyage in vast spaces.
The other two Odyssey LPs are not All-Electronic, but one is All-Singing: "Extended VoicesII
The best pieces on this one are not electronic, and of these, the best is (again) 01 iveros's Sound
Patterns. The piece is short, exuberant, funny, and very well-recorded. It ~ "electronic" in
the composer's attitude towards her material, in this case an excellent choir who shout, sigh,
pop, click, and hiss. Again, the piece sounds like it was fun to do, and it's good to hear.
The two little Morton Feldman pieces, Chorus and Instruments II and Christian Wolff in Cam-
bridge, are also for unwired choir. Both are unvarying Minimal Feldman: one has chimes and
a tuba, and the other doesn't. I tend to doze off in a series of Edison catnaps dudng the inde-
terminate pauses, but both pieces are lovely - the one with instruments being particularly fine.
Robert Ashley (The Wolfman) has an unwired piece called She Was a Visitor which irritated me
because I couldn't hear what the choir was doing behind the willowy-voi ced Speaker, who stum-
bled through his part (his whole line is "She was a visitor", repeated over and over). I know
he's necessary to the piece, but it would have been better if his part had been put on a tape
loop, like Come Out - but then, you couldn't perform it, and that's the name of this particular
game. I like Ashley better when he's going out of his head in his Altec nightclub.
From these little pieces, we go into the Now Sound, which, as far as I can tell, is Old Distor-
tion. I've got nothing against distortion; after all, a square wave is a distorted sine wave - but
over a period of time, it's fatiguing to listen to, because my mind won't stop trying to sort out
the hopelessly tangled harmonics in it. John Cage's Solos for Voice 2 has the maximum Now in
the form of voices who-ing and ah-ing against plastic pickup sheets. (You can hear the effect
by clamping a cup over your mouth and trying to sing.) This, and a lot of howling and screaming
and unprogrammed circuit noise, is about it. It's the sort of tape someone does for the Center
Halloween Party every year. To me, Cage is the seventh of Les Six; I know I'm supposed to take
him seriously, but I always hear him joking, no matter how seriously I read him.
Toshi Ichyanagi's Extended Voices extends, like the Cage, into tedium. The voices are extended
so far that there is little point in using a choir at all - except that this is a performance piece.
I hope there is a great lotof stage theatricality that is obviously lost in recording. What we get
is just residual super-fuzz (the kind that comes out of an overloaded ring modulator) and sl ide-
whistle clowning.
Alvin Lucier's North American Time Capsule 1967 has a good title and the most interesting sound
of all the pieces - for five minutes; unfortunately it runs ten. The basi c sound is like that you
get from Robert Robot the Mechanical Man when you run the serrated plastic ribbon that grows
out of the toy's back over your thumbnail (except Lucier's Robert Robot is a Vocoder - made by
Sylvania, not Hasbro). This, and fast-tuning white noise, is about all that's inside the time
capsule. It may hold an accurate record of our communications morass for future archeologists,
but to me it sounds like nothing more than Sunday on the Citizens' Band. Oddly, it's better
34
heard in mono, because the eight tracks - reduced to three sound points in stereo - only con-
fuse an a I ready confused issue.
Whenever a piece seems too long to me, I play it over aglin, hoping patience will be rewarded
with a hidden organization unfolding. It seldom is. There's some mechanism in my head that
goes into fail-safe past five minutes of undifferentiated noise, and Gordon Mumma's Mesa is 23
minutes of undifferentiated noise. Mesa is one side of the third Odyssey, IIA Second Wind for
Organ
ll
, and I have the impression that the only reason it stopped after 23 minutes is because
23 minutes is the optimum limit for an LP side. After I sat through it the first time, I had the
feeling I'd been listening to one loud tone for two days. That's why I played it again, and now
I can't stop the buzzing, Doctor.
I first heard this piece on TV, accompanying a Merce Cunningham dance called IIPlace
ll
Being
non-technical, and having spent time in California and Mexico, I thought the Place was a Me-
sa - flat as a table top - and the music seemed to work well. It reproduced the Warhol decor
of silver lame pillows lazily floating around the stage, and it left the dancers alone to do their
thing, unhampered by a beat. On a record, it simply represents a synthesis of an acoustic re-
cording of an amateur Gagaku orchestra tuning up, forever. The texture of the single sound is
unrelievedly burry, and the piece is interminable, going on into reaches of lost time that Steve
Reich never dreamed of. Maybe this is the point, and maybe it succeeds; one man's drone is
another man's sonata in this wilderness. But, though I like Gagaku, I can't de-Westernize my-
self enough to accept this kind of low -speed teeth drilling as a musical experience - or any
other kind of experience I would wish for.
The other side of this LP, the non-electronic side, is great. David Tudor (who played the Cy-
bersonic Bandoneon in the Mumma piece - or rather, he played the Bandoneon and Mumma
wrung it through the Cybersonic) is here in full control (or full out-of-control) of two different
unwired organs, and both - one huge and echoing and one small and wheezing - are marvelous
sounding. Both pieces on this side are wildly funny (oh, I see, all he likes is funny music) and
both are very well-recorded.
Mauricio Kagel's Improvisation Ajoutee is true Grand Opera, with maniacal hoots and laughter,
offstage crashes, a disorganized claque, and coughing fits. 111'11 huff and I'll puff! II shouts one
of Tudor's assistants, and the piece tries to blow your bass-reflex down.
For 1, 2 or 3 People, by Christian Wolff, was performed inside and out a Baroque organ on sep-
arate tapes, which were later mixed. There are startling slams and avalanches of untuned air,
faint pweeps and call iope hoots, Donder-and-BI itzen hoofbeats with sleighbells- ringing, and to-
tal demolition towards the end, from which the old organ emerges, still wheezing and clopping.
The sound throughout this side is the best: full and clean, even in the densest parts. The contrast
with Mesa makes a strong case for moving air as a Continuingly Viable Sonic Material (which is
Now for Don't Throw the Baby out with the Bathwater). There are still worlds of sound you just
can't get out of an aluminum box, no matter how exotically you Dymo -label it and how many
mesas it contains. David Tudor & Assistants should be credited with a fine realization of these
pieces, since realization in this case can represent anywhere from half to all of the composition.
IISilver Apples
ll
by Danny Taylor and Simeon. Kapp KS-3562.
I don't know if this is Son of Silver Apple or not. These Silver Apples are two rock musicians
named Danny Taylor and Simeon (- just Simeon; Silver Simeon, I guess). Or rather, the album
JULY 1968
35
notes tell me, "Silver Apples is an organic mechanism" composed of the two. Taylor plays the
Taylor Drums, a vast expanse of traps and cymbals, and Simeon plays the Simeon, a vast expanse
of wires. The Simeon, as far as I can tell from the pictures inside the album ("Full Color Sou-
venir Inside!") is composed of nine Lafayette sine / square generators, a Gibson Maestro unit,
and some Army-Navy radar surplus . In order to turn the nine generators into a Simeon, Simeon
pasted black tape over the Lafayette label and re-marked the dials - and the photographs were
reversed, so that everything reads right to left ("FFO-NO") - but lId know them anywhere be-
cause he didn't cover the switch labeled "WAV FORM" - wh ich is Japanese for Wave Form. You
have to be a compulsive killjoy like me to point all this hankypanky out, but it illustrates that
even in rock, the Synthesizer Mystique is with us. " The bass oscillators are played with the
feet," we are told, leaving Simeon's hands, elbows, and knees free for Lead and Rhythm Oscil-
lators. While tromping on the bass and elbowing the rhythm, Simeon also plays flute and sings.
Truly an Organic Mechanism.
(The Gibson Maestro, if youlre not familiar with it - and there'sno reason you should be, since
it's designed and marketed for pop musicians by Gibson, who made the first electric guitar [and
we all know what that instrument led to] - is a bass-octave generator, primarily; it does other
things too, and there are two different units. I think Simeon uses the reed unit, and this is odd,
because if held used the rhythm unit, he could have done away with six of his generators and
freed his extremities for something more interesting. In fact, with a little additional circuitry,
he could have done away with Taylor. But then, there wouldn
'
t be anything very impressive
about one Apple sitting on stage, doing nothing while all that rhythm rolled out of a few little
boxes . )
The result of all this organic mechanizing is interesting the first time, dull thereafter. (The al-
bum Instructions read: Play Twice Before Listening; I played it twice and stopped listening.) The
main attempt here is to generate electronic rock rhythm - something no one has done before,
that I know of. On Lovefingers, the Simeon and the Taylor do manage to get together and have
a success, but the beat throughout the LP is metronomically dull: all the cuts are chants (one is
a try at making rain) and all the lyrics are full of weaving-waving, flying-floating, and Sea-
shells by the Seashore. The Taylor tomtoms beat heavily along, and the redundant Simeon rhythm
generators seldom depart from a steady ding-dong doorbell.
This LP is one more step towards something that ' s coming, and it ' s interesting for that reason.
I don't know if these Silver Apples fell off Subotnick's Apple tree or not; there's noacknowledge-
ment on the album, except to Yeats, who started it all with his Silver Apples poem. But, if
they did, they fell far afield. Subotnick's rhythm ....... that eight minutes of it - ~ an organic
mechanism, a powerful, witty, swinging machine, finely made. I doubt he could perform it,
but I donI t care; I can buy it for two dollars and take it home with me. I hopefully imagine
one of the reasons for the restricted rhythm of the Simeon is the need to perform live. But they
had no such restrictions on this recording (it's obviously multi-tracked and overdubbed).
On stage, the Apples probably make a mind-blowing impression - drums, wires, light, twirling
dials, and Simeon's flailing hands, elbows, knees, and feet - but on record, without something
to look at, the poverty of invention becomes increasingly evident as the cuts multiply. On stage,
lIve heard incredible walls of sound come forth from the minimal efforts of a few pale children,
and the contrast between what you saw and what you heard was enough to blow all your cool
judgment fuses on the first bar. A lot of this is pure level: you canlt record (let alone reproduce
at home) 0-120 dB attacks, and rock LPs are fourth-carbon copies of the stage sound, even when
they try for it, as they do in the Holding Company IS new Columbia LP, "Cheap Thrills"; when
36
you witness these five people doing their Combination of the 2 on stage, youlre sure you Ire not
going to survive it, but all the record can do is stir faint memories of that sound. So some groups
(like the Doors, a live-assault group onstage) turn to something else on records: detail, perfec-
tion, technique, even thoughtfulness, which makes them eminently re-playable. If the electronic
rock people (and some electronic not-rock people) are going to succeed on record, they'll have
to accept this difference; if you accept it, one is not better than the other: I don't like to listen
to records in a room full of people, and I don't want the Holding Company live in my living room.
I of IV is singular, Combination of the 2 is plural. Either we accept that, or take time out to
develop new instruments and performance skills to bridge the gap. But these groups aren't likely
to have the patience or to take the time to acquire these things. Right now, it's jump-in time,
or ready-or-not-here-we-come. I expect the Very Next Thing will be The Finley: four hundred
Eicocraft solid-state burglar alarms, wired in series and played with Finley's nose.
- Tod Dockstader
liThe New Music": Rimes pour differentes sources sonores by Henri Pousseur. Victrola VICS-
1239.
In his excellent article (a transcript of one of his lectures)published in EMR No.5, Henri Pous-
seur outlines the developmentof his thinking during some years of work in various electronic mu-
sic studios, and the parallel but different course being pursued at the same time by such com-
posers as Berio and Stockhausen.
It is very interesting, in the light of this article, to be able to hear a work of about ten years
ago which exemplifiesa particular phase in the composer1s development, and coincides also with
the foundation of the (then) new studio in Brussels.
Rimes makes its intention clear in the title, and explores a large number of possibi lities inherent
in the idea of mixed sound sources. Apart from the obvious contrast between performed,"human"
interpretation and "frozen", prerecorded synthetic sounds on tape, the music can present, for
example, the imitation (rhyme - rime) of one sort of sound by the other - a genuine pizzi cato
in combination with plucking sounds achieved electronically, or drum-like and bell-like sounds
in rhythmic harness with live sounds of the same type. Alternatively a complete break in tonal
palette can be aimed at, and the use of strings enhances this aspect because string sound isa par-
ticularly"alive" timbre whose electronic equivalents (so far) are usually not at all like the mod-
el, whatever the measuring instruments seem to say. Similarly, the considerable use of filtered
and modulated noise on the tape throws into prominence a type of sound which cannot (again so
far) be achieved by acoustic instruments, though some of them are roughly drum-like.
One matter is difficult to assess if one has not heard a concert performance of the piece (and
have not); that is whether the spatial relationships are correctly presented on a normal stereo
disc. In concert performance the loudspeakers are meant to be placed at front and rear, and
this dimension is difficult to give in two-track stereo, which tends to emphasize left / right re-
lationships more than near/far. At times, when listening, I found it difficult to separate tim-
bres which I think would probably be perfectly clear in the concert hall. Finally, on the sub-
ject of recordings in general, it might be said that, since the whole point of this piece is the
contrast between the immediately created and the predetermined sounds, recording the whole
and fixing both halves in an immutable mold is bound to kill the idea stone dead. But this can
be said of any instrumental recording to a greater or lesser degree, and whether or not the pre-
sentation is exactly as the composer would wish, this is a very good, well-articulated perform-
JULY 1968 37
ance, in which the transparent small orchestral ensembles can be heard with great clarity.
The first movement opens with percussion (including melodic instruments like glockenspiel and
vibraharp) and strings, but the texture is gradually penetrated by electronic sounds, primarily
noise-derived, and altered recordings of sounds similar TO the live ones. The balance is subtly
adjusted so that the electroni c sound threatens to dominate the instrumental, and then slowly re-
treats. A fine climax of strings with" chords" of noise spectra and I ive taped percussion sounds
leads to a calm ending, like a pool returning to normal after a disturbance.
In the second movement the instrumental shapes are larger, richer and more fragmented, and the
formal structure is opposite to that of the first movement. Deceptively smooth noise patterns peel
off their velvet gloves and become increasingly complex and aggressive. The instrumental en-
semble enters and eventually dominates the tape, the small, scattered groups barking and yam-
mering across the texture. The electronics could easily be made to overpower the instruments
through sheer weight, but this is avoided partly by restrained writing and partly because the most
telling sonorities are given to the instruments anyway.
The third movement is entirely instrumental (I think, but I may have been deceived), and forms
a kind of coda, returning gradually to a mood reminiscent of the end of the first movement: calm
and lyrical with touches (dare I say) of Webern.
In another age Rimes might have been a Divertimento. Much of the music is charming and wit-
ty, particularly the capricious setting of long notes and chords (some of them backwards) against
tiny arabesques, staccatissimi, and fragmented bubble-chains of noise. If OAe can thinkof it as
any kind of contest (and no doubt Pousseur would not wish us to), the instruments have it, since
they propose the argument, continue and expand it against electronic counter -proposals, and
have the last word. But the contest is friendly, and for sheer integration of material the work is
very remarkable. Referring again to the thoughts expressed in Pousseur's lecture, it is clear that
not long after the composition of Rimes his ideas altered a great deal, and his approach to the
instrumental/electronic melange would now be quite different. But as an example of a particu-
lar genre and an important period in a developing composerls work, the piece has great interest,
and also a great deal of delightful sound. Its aggressions are civilized ones, and in many places
it aims at and achieves real beauty.
Since the disc also contains some notable instrumental pieces (Stockhausen, Penderecki, Brown)
it is well worth adding to one's library.
- Tristram Cary
Silver Apples of the Moon by Morton Subotnick. Nonesuch H-71174
Morton Subotnick is to be congratulated for this beautifully sounding composition. I admire Su-
botnick's taste in sounds, and his ear in selecting and balancing them. The result is one of the
"prettiest" electronic compositions released on record to date.
Much of the formal organization is right and proper. One has the feeling that this is a compo-
sition: integral and complete, and not a mere stringing together of sections and sounds. All this
is to the good. But the surprise comes when one attempts to I isten with concentration to the en-
tire record, from beginning to end. My opinion, which comes from five such sessions over three
months, is: 11m sorry, but Silver Apples is a bore. Perhaps 31: 30 is just too long a duration for
38 ELECTRONIC MUSIC REVIEW ,
a single electronic composition in th is style and density; or perhaps, more likely, the Buchla-
designed synthesizer contains certain operational II traps II which are avoided only with great dif-
ficulty. I am referring to two problems. The first is the definite lack of any sense of perform-
ance. The phrasings and articulations are not particularly expressive; they either sound inflex-
ible and mechanical, or aleatoric and unimportant. Pretty little II glissandi
ll
tones of sine and
sine-Ilke waves dance about in a cloud of constant-perspective reverberation (Fairchild rever-
beration, I think). They neither recede into very heavy echo, nor emerge in razor-sharp dry-
ness. Nothing shapes towards or away from tension or release. All is euphoric and pleasant, but
never musically compelling - sort of like the 20th century equivalent to late 19th century salon
art.
Secondly, the sequencer, the heart of the Buchla System, is to my ears simply over-used, and
overly depended upon to make the composition move. And move it does, with a dull peck-peck-
peck-peck of sixteenth notes, rhythmically accurate and, as any performer will admit, perfectly
deadly. The bulk of side two is the finest example of this sort of hangup. The album is worth
buying and listening to just for this.
Despite these comments, I sincerely do recommend this record. In all fairness to the very tal-
ented Morton Subotnick, Silver Apples of the Moon is perhaps described best as a poor perform-
anceof a fine composition. More of this sort of music, instead of the usuaillcop-out
ll
style one
is accustomed to finding of late, would be very healthy for the field at large. I still am looking
forward to a convincing marriage of performance practice with the new electronic musical art,
but this may be my own hangup.
II Electronic Music / Musique Concrete; A Panorama of Experimental Music, Vol. 111: Omaggio
a Joyce by Luciano Berio; Visage V by Luc Ferrari; Artikulation by Gyorgi Ligeti; et al. Mer-
cury SR2-9123 (subsequently released: Limelight LS-86047 & LS-86048).
Mercury Records should be given a great deal of credit for this release. One can only hope that
the indication that other volumes are to follow is correct. The present two-record set presents '
American record audiences with their first comprehensive look into the electronic music which
was coming out of Europe about ten years ago, and represents some of the finest pioneering ef-
forts of that era. It is from these sincere musical attempts to control artistically the relatively
awkward facilities of the lIc1assical
ll
studio that the state-of-the-art IIwonder machines
ll
of the
present developed.
I am amazed that, although most of their various routines and methods are painfully obvious,
these composers were able to give us viable musical shapes and forms, even idiomatic phrasing
and ensemble feelings.
If, indeed, the album contains any deficiencies, they probably are:
,(1) The electronic expressiveness available at all of these studios at that time, i.e., classical
tape manipulations (editing, speed shifting, retrograde, manual motions of the tape, manual fil-
tering, mixing, etc.) is, from today's vantage point, ~ limited, and its own characteristic
sound pervades gJIof the music produced with these techniques. Spot-checking through the al-
bum reveals a great deal of similarity between all of the compositions, and rather undesirable
types of homogeneities within each piece.
(2) Probably as a resultof the same studio limitations, the majority of the music on the album has
JULY 1968 39
a long drawn-out feel; it all too often moves in adagio, or even grave. I find that the spaces and
balances between moments of tension often exceed justifiable proportions. Certain kinds of rapid
manipulations were simply not idiomatic at this stage of growth of our new musical offspring.
As a result of this, the album is not likely to demand rehearings in its entirety. Yes, there are
favorites that you will want to play again and again, but long steady doses might best be rec-
ommended to members of the "turn-on" generation - so much here is wonderfully psychedeli c
in the best sense of the word.
My personal favorites happen to be: The Berio Omaggio a Joyce, perhaps the only masterpiece
on the record. Here structure, technique-, and idiom are totally integrated. One has the feeling
of a performance, not a mere haphazard reading or collage. FerrarPs Visage V, while slightly
overlong, has a rollicking good-natured sense of humor to it, and nicely avoids much of my "a _
dagio syndrome!', maintaining a real continuity and contrast, with a great many musically ex-
citing moments. Ligeti's Artikulation: I like the phrasings in this one particularly. There is a
finely controlled shaping to them, be it intentional or accidental. The overall form of the work
is weak, perhaps, but fortunately, it is not too long. Again, in contrast to so much ultra-serious
electronic music one finds today, the work's sense of humor and buoyancy (atypical of Ligeti) is
highly refreshing. Also, the stereophony is truly integral to the piece and forward-looking.
All the cuts on the album are very cleanly recorded and pressed, the jacket notes are good, and
the conservative packaging is modestly attractive. It is certainly a necessary addition to any
representative collection of music in this medium, and leaves one eager to hear more recent works
by the composers included.
Incidentally, thanks are in order to Mercury for the manual sequencing of the sides.
- Walter Carlos
Omniphony I by Tod Dockstader and James Reichert. OwIORLP-ll.
The rock and roll critic for New York's Village Voice, Richard Goldstein, recently published
an editorial on criticism, in wh ich he noted that one no longer opines as to what is good or bad;
one merely "puts the pieces in perspective". Substance, he says, doesn't intrigue us, but we
react to style, and we no longer can point out the difference. "Both, we exult, are the same."
Style being equatable with technique (almost 1 :1), electronic music in this respect is precisely
like rock and roll. There are no standards but there ~ style. Or shall we say, style/technique.
Lots of it. I might add that in any fast-moving artistic medium it has always been the same, and
those who have tried to point out content have usually been laughed at. Content is what gets
talked about a hundred years later. Style is always chic, always now.
Listening to this monumental opus, put together over a 4-year stretch by two composers (if we
may still meaningfully use that term), I found myself floundering in this very problem. What ~
its content? Can it be described in any useful fashion -? Because to define content means to
set up standards as to what is right and what is wrong. There are aspects of Romantic-period-mu-
sic in this work, in its size and scope and its grandeur, in its use of portentously significant the-
matic material recurring in new and cyclic forms, even in the spread of its five movements, which
forcibly suggest the late symphonies from Mahler through Shostakovitch. Is this "right"? And is
the clear influence of a kind of television music, via Reichert, to be thought of as a matter of
content? And how about the unmistakable sounds of the Moog Synthesizer, which this listening
40
ELECTRONIC MUSIC REVIEW '
~ a r picked up with no trouble at all? Not content but style/technique. Styles, in the plural.
Forget about content for the time being, a half century or so. Electronic music isn't yet good or
bad in any permanent way; there are no parameters for judgment except the old ones that no long-
er necessarilyapply. So it sounds like addled Beethoven? Maybe so. Why not? Or like scram-
bling eggs - perhaps even better.
Omniphony I then, is a new and large-scale synthesis of various style elements and techniques,
and that, for me, is its importance, both as to technical competence and in the listening.. Its
originality is in its approach, which is unusual. To begin with, a series of electronic II cell II
sounds, ideas, produced by Tod Dockstader, a lone-wolf electronic composer of considerable
experience. Some are purely synthetic, others are derived from "Iive" sound. Then a parallel
composed series of instrumental parts, for standard musical instruments, contributed by James
Reichert to match the electronic cells. This instrumental music, played "live" from score, was
recorded in a special session not as any sort of final "piece" but as further generative material
with which to II compose II on tape. Only then was the work itself undertaken, using the original
cells and their instrumental counterparts as equal working material, subjecting both to further
extensive treatment in the usual ways, including synthesis via Moog. Both the cells themselves
and their untreated instrumental counterparts are heard along with the variously altered forms.
Out of this material, the five movements are built - Romantic fashion. Thus, the dominating
upward arpeggio of the first movement (electronic and in II I ive" instrumental form) reappears in
the last movement, like the "motto" themes in Mahler, or the transformations of Richard Strauss.
The sound of Omniphony I is technically clean, clear, and full of interesting color and rhythm
contrasts; I would say that it is "state of the art" in respect to cumulative distortion and back-
ground noise, those agonizing problems of earlier electronic music. We are never in any way
aware of the dubbing process, the third or fourth or nth generation copying. Over such a long
span, too, the five movements maintain a high degree of continuing interest, an achievement
in itself. The thematic cells are not difficult and impress themselves on the ear with very little
trouble; the contrasts between the electronic and "Iive" versions 6f the same idea (treated or
untreated) become increasingly prominent as one listens further - the idea is a good one and
well worked out. The conservative movement layout, not unl ike a super - symphony, helps to
control th is large sound outlay, giving it the time-tested shaping that holds many big orchestral
works together, more or less, over their hours of length. An imposing opening allegro with a
species of slow introduction, a slow movement, a scherzo, an impressive finale a la Tchaikovsky
Pathetigue - they are all suggested here, and to good impact. Again - why not?
My chief negative criticisms are two. First, too much of a muchness. The title gives that away.
One would prefer a more modest shaping (and the same with Mahler!). Grandeur sometimes
verges on pomposity, modernity becomes almost old-fashioned. One has to be ~ good to get
away wi th pompos i ty these days.
Second, there is more of the traditional than one might think in other aspects of the work, and
here is the remaining unsynthesis, not yet wholly digested in style. Mr. Reichert has had a high-
level conservatory education and has turned out quantities of TV music. Is it a viable coinci-
dence that, every so often, Gunsmoke or equivalent rears up in a pretentious cadenza, a taut
passage of conventional commercial-modern? And how about that piano bit, two quick chords,
which sound like an intrusion from the Grieg Concerto? For my ear, these legitimate stylistic
derivatives are honest but not yet digested. No great criticism, in viewof the monumental fact
of this completed work.
JULY 1968 41
This is a good composing team, one man out of a too-commercial background of professional mu-
sic, the other out of the dreary life of the commercial recording studio, which is where the two
met. Their acquired techniques are directly complementary and in the end they will iron each
other out smooth. Maybe in Omniphony II, the Ultimate Synthesis?
- Edward Tatnall Canby
"A Panorama of Experimental Music, Vol. 2": Le Voyage by Pierre Henry. Mercury SR-90482;
(subsequently released: Limelight LS-86049).
This is a magnificent work of art. It moves quietly yet brilliantly within one miraculous cycle of
the Wheel of Life described by the Tibetan Book of the Dead, from death through reincarnation.
Henry has divided Le Voyage into seven sections and has further regrouped the sections whi ch lie
between the last breath of the dying man and the first breath of the reincarnated spirit into a
Trinity: After Death 1 and After Death 2 (stage one), Peaceful Deities and Wrathful Deities (stage
two), and The Coupl ing (stage three).
Breath is the symbol of life, and the listener is particularly aware of the movement of air through-
out the first and last sections of the piece, an effect achieved in part by the synthesis of filtered
bands of white noise. In the first section, Breath 1, the breathing of the dying man is forced
and painful: the wretchedness of the body dominates the spirit and obscures awareness. The mu-
sic gradually recedes to the calmness of death and the first section terminates in emptiness.
The spirit encounters the Clear Light in After Death 1 and 2. At first, the music depicts bright-
ness, delicateness, awe. Wonder pervades, as if the spirit were peering over a great wall at a
luminous garden. The music drifts into strangeness, though it is movement without displacement;
all remains unchanged at the end of Breath 1. Breath 2 shows the loss of the Clear Light as the
spirit longs to return to life and thereby only increases the distance from the calm. There is un-
certainty and regret which announces the re-entrance of the self: the brightness, the glow, be-
comes ice, and the drifting becomes an aimless panic and ends sharply, far removed and hopeless.
The spirit encounters the Peaceful and Wrathful Deities (often represented in Tibetan tapestries),
but does not realize that they are all one spirit, and that the one spirit is his own. The two sec-
tions are interwoven with radiance and terror, only separated by the elementof time which the
spirit clings to and which serves to torment it.
The Coupling is the stage of rebirth (metempsychosis) and is pervaded by an incredible pull, a
sense of falling. The spirit has long lost the Clear Light and is condemned to be reborn into an-
other body. Male and female forms appear in union and six wombs appear, each of a different
color signifying a different being. The spirit rushes into the womb which signifies a desire for
life, and re-emerges in Breath 2 as a wretched human being, who must again follow the wheel
of rebirth; the mus i c ends as it began.
Le Voyage is not programmatic music in the usual sense; it is more properly what is called "total
environment". The scheme dictated by the Tibetan Book of the Dead is a fantasy, a parable,
which serves to illustrate that which is not known, which cannot be communicated from one be-
ing to another by familiar means. It is from a lucid conception of this parable that a deeper un-
derstanding can emerge, and it is towards this end that Henry's music works so brilliantly, trans-
lating an ethereal concept into the realm of sound where space and time flow, recede, and unite.
It is music which demands a special sortof listening, a diligence above thatwhich is lent to many
works of art; Le Voyage can hardly be enjoyed unless the listener leaves behind him the impa-
tience and tension to wh ich he is normally the servant, and in this sense there is a "price for one
admission" to the voyage. The music is a gem technically and spiritually.
- Jonathan Weiss
JULY 1968
43
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A 112page descriptive catalogue containing
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A SUBSIOIARY OF G SC HIRMER,I N C,
6 0 9 F 1FT H A V E N U E . NEW Y 0 R K. N. Y . 1 0 0 1 7
Contributors
PAUL STROK ADLER is a member of the New York and United states Supreme
Court Bars.
EDWARD TATNALL CANBY is a columnist for Audio magazine.
WALTER CARLOS is a Recording Engineer at Gotham Recording Corp'3 New
York CitY3 and is President of Trans-Electronic-Music Productions
3
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3
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TRISTRAM CARY is Director of the Electronic Music Studio at the Royal
College of Music
3
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TOD DOCKSTADER is Vice-President of the Westport Communications Group3
New York City.
ROBERT ERICKSON is Professor of Music at the University of California
3
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ROGER REYNOLDS is Director of the Cross Talk concert series in Tokyo.
JONATHAN WEISS is Composer-in-Residence at the R.A. Moog CO'
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------------{advertisement}----------------------------------------------
THE YOUNG CELLIST, CHARLOTTE MOORMAN, WHOM VARESE CALLED "JEANNE D'ARC
OF NEW MUSIC", IS UNDER CONTINUING THREAT OF JAIL UNLESS A MINIMUM OF
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OUTRAGEOUS CONVICTION FOR AN "OBSCENE PERFORMANCE". ALSO UNDER A PALE
IS THE BRILLIANT KOREAN CREATOR OF THIS "OBSCENE WORK", COMPOSER NAM
JUNE PAIK.
ON FEBRUARY 9, 1967, MISS MOORMAN AND MR. PAIK PREMIERED HIS OPERA
SEXTRONIQUE BEFORE 200 INVITED GUESTS AT THE NEW YORK FILM-MAKERS'
CINEMATHEQUE. OPERA SEXTRONIQUE IS A MIXED MEDIA WORK IN 4 ARIAS CON-
SISTING OF PERFORMERS, CELLO, PIANO, COSTUMES, PROPS, LIGHTING DE-
SIGNS, TAPES, RECORDINGS AND PARTIAL NUDITY. EACH IS AN INTEGRAL PART
OF THE COMPOSITION. POLICE STOPPED THE PERFORMANCE AND ARRESTED MISS
MOORMAN AND MR. PAIK; APPROXIMATELY 16 POLICE CARS WITH POLICEMEN IN
RIOT HELMETS ASSISTED IN THE ARREST. AT MISS MOORMAN'S 4-DAY TRIAL, A
NUMBER OF EXPERTS IN THE ARTS SPOKE IN HER FAVOR. JACK KROLL OF NEWS-
WEEK, JOHN GRUEN OF NEW YORK, CARMAN MOORE OF THE VILLAGE VOICE, AND
DAVID BOURDON OF LIFE ALL SAID MISS MOORMAN'S PERFORMANCE WAS ART WITH
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AS A RESULT, SHE IS UNDER CONSTANT THREAT OF IMPRISONMENT. TO AID IN
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TO: MOORMAN/PAIK LEGAL FUND, 752 WEST END AVENUE, NEW YORK CITY 10025.
JULY 1968
45
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The Independent Electronic Music Center, Inc.
Trumansburg, New York 14886
( ) I hereby apply for personal membership in the IEMC. I enclose, or promise to pay, $6.00
(foreign $6.50) as my annual membership dues for the calendar year of 19 $5.50 (foreign
$6.00) of this amount is for a subscription to EMR for one year. ( )New. CfRenewal.
( ) We hereby apply for institutional membership in the IEMC. We enclose, or promise to pay,
$ 8.00 (foreign $ 8. 50) as our annual membership dues for the calendar year of 19 $7.50
(foreign $8.00) of this amount is for a subscription to EMR for one year. ( )New. [)Renewal.
Please make checks payable to IEMC, Inc. - U.S. funds only, please.
Name
Address
City ______________________ State ____________________ Zip ________ _
) Payment of $ __________ enclosed. ) P I ease bill me $
a
new

Image
of sound

machine music
LEJAREN HILLER
for piano, percussion
and two-channel tape
recorder
(three scores needed
for performa nee)
computer cantata
LEJAREN HILLER with
ROBERT BAKER
for soprano, instrumental
ensemble and two-channel
tape recorder
( score published;
materials available on rental)
'1-
THEODORE PRESSER COMPANY
BRYN MAWR, PENNSYLVANIA 19010
.. _----
SINCE 1883
JULY 1968 47
CHECK THESE
NEW "ADD-ON" MODULAR DESIGN CON-
SOLE accommodates one, two or four ampl ifiers.
Handsome cast metal covers on operations panel and
head assembly give the 280 an entirely new look.
NEW BRAKING SYSTEM WITH EXCLUSIVE
MOTION SENSING! Available previously only on
the Scully one-inch tape transport, this unique system
permits tape handling in any operation sequence
without breaking worries. Optional on the Model 280.
NEW AUTOMATIC TAPE LIFTERS! This is an
added bonus with the new motion sensing braking
system. The automatic tape lifter keeps the tape off
heads until tape transport has come to full stop.
SCULLY'S NEW SYNC/MASTER! Remote con-
trol your sync-sessions with Scully's exclusive Sync!
Master control panel. Ask your Scully distributor about
this new optional accessory for our 8-track units.
Scully engineering pioneered the plug-
in head assemblies, plug-in amplifier cards,
plug-in relays and solid-state electronics.
CB Scully
RECORDING INSTRUMENTS COMPANY
A Division of DICTAPHONE CORPORATION
ON THE GREAT
1 s ~ - : ' i i y 280
Now, once again, Scully sets the pace in
great new features for the all-new 1968
model 280!
Distribution for electronic music by
R. A. MOOG CO.
Trumansburg, N. Y. 14886
(607) 387-6101
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Electronic Music Review

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